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If you listen closely, you can hear Robert Altman’s overlapping lessons. 

Robert Altman, a renowned American film director, was known for his unique and innovative approach to filmmaking. His films were characterized by realistic and authentic portrayals of characters, unconventional narrative structures, and a collaborative working style.

Altman’s films left a lasting impact on the world of cinema, and there are valuable directing lessons that aspiring filmmakers can learn from his body of work.

In this article, we will explore some of the key lessons that can be gleaned from Altman’s directorial style, including embracing collaboration, emphasizing realism and authenticity, experimenting with narrative structure, paying attention to sound and music, creating an ensemble atmosphere, embracing risk-taking, and attention to detail.

Let’s dive in. 

‘M*A*S*H’Credit: 20th Century Fox

What Are Some Directing Lessons We Can Learn From Robert Altman?

Altman was a highly influential American film director known for his unique approach to storytelling and his innovative use of sound and overlapping dialogue. Here are some directing lessons we can learn from Robert Altman:

  1. Embrace a Collaborative Approach: Altman was known for his collaborative approach to filmmaking. He encouraged improvisation and input from his actors, and he often worked with a regular ensemble of actors who appeared in multiple films. He believed that the best ideas could come from anyone on set, and he created an open environment where creativity could flourish. As a director, learn to embrace collaboration and be open to ideas from your team, including actors, crew, and other collaborators.

  2. Emphasize Realism and Authenticity: Altman was known for his realistic and authentic portrayals of characters and situations. He often used naturalistic dialogue, and his films had a documentary-like quality to them. He believed in capturing the messiness and complexity of human behavior, and he encouraged his actors to bring truth and authenticity to their performances. As a director, strive to create realistic and authentic moments in your films, and encourage your actors to deliver performances that feel genuine.

  3. Experiment with Narrative Structure: Altman was known for his unconventional narrative structures. He often played with time, overlapping storylines, and multiple perspectives. He believed that traditional narrative structures could be confining and limiting, and he was willing to take risks and experiment with storytelling techniques. As a director, don’t be afraid to think outside the box and experiment with different narrative structures to create unique and memorable films.

  4. Pay Attention to Sound and Music: Altman was known for his innovative use of sound and music in his films. He often used overlapping dialogue to create a sense of realism and capture the chaos of everyday life. He also paid careful attention to the sound design and used music effectively to enhance the mood and tone of his films. As a director, consider the power of sound and music in your films, and use them intentionally to enhance your storytelling.

  5. Create an Ensemble Atmosphere: Altman often worked with a regular ensemble of actors and fostered a collaborative and inclusive atmosphere on set. He believed that a sense of community and trust among the cast and crew was crucial to the filmmaking process. As a director, strive to create an ensemble atmosphere on your sets, where everyone feels valued, and their contributions are encouraged and appreciated.

  6. Embrace Risk-Taking: Altman was known for his willingness to take risks and push boundaries. He was not afraid to challenge the status quo and explore unconventional ideas and themes in his films. As a director, be willing to take risks, push boundaries, and challenge yourself creatively. Don’t be afraid to step out of your comfort zone and explore new territories in your filmmaking.

  7. Attention to Detail: Altman was known for his meticulous attention to detail in his films. He paid careful attention to the set design, costumes, props, and other visual elements to create a rich and immersive world for his characters. As a director, pay attention to the details and strive for visual and sensory richness in your films to create a fully realized world for your characters to inhabit.

These are just a few of the directing lessons we can learn from Robert Altman. His innovative and unconventional approach to filmmaking has left a lasting impact on the world of cinema, and his films continue to inspire and influence filmmakers today.

‘Nashville’Credit: Paramount Pictures

Summing Up Some Directing Lessons We Can Learn From Robert Altman?    

Robert Altman’s approach to directing was truly distinctive, and his films continue to be celebrated for their innovation and artistic merit. Aspiring filmmakers can draw inspiration from Altman’s directing lessons, which include fostering a collaborative working environment, prioritizing realism and authenticity, experimenting with narrative structure, utilizing sound and music effectively, creating an ensemble atmosphere, embracing risk-taking, and paying attention to detail.

By incorporating these lessons into r own directing style, filmmakers can strive to create unique and memorable films that push boundaries and leave a lasting impact on audiences.

So, take these lessons to heart and embark onr own filmmaking journey with a willingness to take risks and push the boundaries of storytelling. 

Let me know what you think in the comments.      

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If you listen closely, you can

No stranger to the small screen, television’s Kevin Kennedy has left the cobbles of Coronation Street far behind him as he takes to the stage and embraces his inner rock’n’roll star in the UK Tour of ROCK OF AGES which comes to Venue Cymru from May 2nd, 2023 to May 6th, 2023.

Not just an actor, you’ve also been part of many bands over the years. Have you been enjoying indulging your musical side in Rock of Ages?

Oh yes, it’s incredible to be able to put your two passions together – one being of course acting and the spoken word and the other being music, which is something I’ve loved throughout my life. To put those together is a perfect marriage, and in a vehicle such as Rock of Ages it is a whole lot of fun as well!

For those who don’t know, could you tell us a bit about the story of Rock of Ages?

Rock of Ages is set in Los Angeles, California in the mid 1980s. It’s about a rock club called The Bourbon Room, which is absolutely legendary, every single band you could think of has played there. It’s an icon of rock’n’roll and absolutely the place to be, but the local council are attempting to close it down so we are fighting them. Alongside all of that there’s a beautiful love story, lots and lots of jokes and of course some of the most incredible music from the 80s like “Here I Go Again”, “The Final Countdown” and “I Want To Know What Love Is”.

And how does your character, ‘Dennis’ fit into this?

Kevin Kennedy – Dennis Dupree – Photo The Other Richard

So, Dennis is the owner of The Bourbon Room and he’s an absolute rock guru. He’s given all these now legendary bands their stars and he’s been in bands himself. He’s also embraced the drug culture and intense sexuality of the 1980s with much enthusiasm and regularity! He’s a very interesting man to play – he’s got a good heart at his core but he’s a child of his culture and loves his sex, drugs and rock’n’roll! He’s a lot of fun to play!

Audiences may know you best from your time on television, particularly as ‘Curly Watts’ in “Coronation Street”. What are the biggest differences between working TV and theatre?

TV is a totally different skill and technique to theatre. Not least because you may put something in the can after filming and not get the payback of that for months or event years. You can almost film it, and then forget about it. With theatre however, it’s obviously live and live theatre is one of the last true shared experiences you can have – along with football! In the theatre you are all together and sharing one experience which is happening live, right in front of you and there’s not a lot of that left. That in itself generates its own energy and excitement as no two shows are the same. The show that you come and see will never been exactly the same as that ever again which is quite an exciting thought.

“ROCK OF AGES” boasts some of the biggest hits of the 1980s as its soundtrack. Were you a fan of 80s rock music?

I was a young-ish man in the 1980s and not a huge fan of some dance music, so the last refuge of guitar music to a certain extent was that brilliant American glam-rock that we showcase in Rock of Ages. They play their own instruments and perform live on stage so I had a huge respect for that.

Are there any challenges to performing this style of music on stage? Have you drawn from your experience as a musician?

It requires a lot of energy! However, once the show gets going it’s so much fun and no longer feels like work. Once you’ve done the hard work of learning the lines and where to stand we’ve been allowed to just have so much fun with it. Audiences are absolutely loving it because it’s just bonkers.

Do you have a favourite moment or number in the show?

Numerous moments! Although what I really enjoy is watching the other members of the cast doing their big solo numbers because they’re all so incredibly talented and it’s great to watch and learn from them. It’s been so lovely to see them grow into their characters from the first rehearsal through to our performances on tour now, where it all comes to fruition.

What about a favourite song?

Oh the entire finale is my favourite as it is just one big fat rock’n’roll number.

Do you have any ‘must-have’ items whilst on tour?

A cafetière, some coffee (obviously), my Manchester City mug, and of course the most important thing – a PlayStation!

5 ROCK OF AGES. Kevin Kennedy - Dennis Dupree - Photo The Other Richard
Kevin Kennedy – Dennis Dupree – Photo The Other Richard

Finally, what can audiences expect when they come and see Rock of Ages?

They can just expect to have a great time. If you’re a seasoned theatre-goer or you’ve never been to a show before you will have a lot of fun. If you want to come dressed in your leather trousers and embrace your inner 80s rock star then do that! Even bring along an inflatable guitar if you want – everything is just a whole lot of fun.

Rock of Ages with Kevin Kennedy will be at Venue Cymru from the 2nd – 6th of May 2023, tickets are available now from veneucymru.co.uk or the Box Office on 01492 872000.

Interview: Kevin Kennedy Chats About the Rock of Ages UK Tour as it heads to Venue Cymru

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It’s time for another season of monster hunting. 

Netflix has released the first official teaser trailer for Season 3 of “The Witcher,” revealing a glimpse at the final episodes starring Henry Cavill as Geralt of Rivia before Liam Hemsworth takes over the role in Season 4.

The five-episode Volume 1 will be released globally on June 29, with Volume 2, including the season’s final three episodes, set for July 27.

“The Witcher” stars Cavill as the monster-slaying White Wolf, Freya Allen as princess of Cintra and Anya Chalotra as Yennefer of Vengerberg. Joey Batey, Mimi Ndiweni, Eamon Farren, MyAnna Buring, Wilson Mbomio and Tom Canton are also set to return in Season 3.

The first teaser reveals that Season 3 is going to take a haunting, ghastly turn. Upon first glimpse, Geralt takes a swig of a liquid that transforms his eyes into a deep, demonic state. “Now, for the first time, I understand real fear,” he says in bone-chilling fashion.

“As monarchs, mages and beasts of the Continent compete to capture her, Geralt takes Ciri of Cintra into hiding, determined to protect his newly reunited family against those who threaten to destroy it,” reads Netflix’s official plot summary of Season 3. “Entrusted with Ciri’s magical training, Yennefer leads them to the protected fortress of Aretuza, where she hopes to discover more about the girl’s untapped powers; instead, they discover they’ve landed in a battlefield of political corruption, dark magic and treachery. They must fight back, put everything on the line — or risk losing each other forever.”

Cavill exited “The Witcher” with news that he would reprise his role as Superman in an upcoming Warner Bros. film, playing the hero for the first time since 2017’s “Justice League.” But since then, DC Studios chief James Gunn revealed that Cavill would not be reprising his role as Superman. Instead, Gunn will direct “Superman: Legacy,” which will tell “the story of Superman’s journey to reconcile his Kryptonian heritage with his human upbringing as Clark Kent of Smallville, Kansas.” Casting details have yet to be announced.

“My journey as Geralt of Rivia has been filled with both monsters and adventures, and alas, I will be laying down my medallion and my swords for Season 4,” Cavill said upon his exit from “The Witcher.” 

Hemsworth is best known for playing Gale Hawthorne in “The Hunger Games” film series. Netflix’s head of U.S. and Canada scripted series, Peter Friedlander, revealed to Variety that when he takes over the role of Geralt of Rivia, the series will continue “to honor the IP, the fans, the storytelling, all the way through” amid Cavill’s departure. 

“The Witcher” was created by Lauren Schmidt Hissrich as a television adaption of Andrzej Sapkowski’s novel series. The franchise recently debuted its four-part prequel series “The Witcher: Blood Origin,” led by Michelle Yeoh. 

Watch the official teaser trailer below. 

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It’s time for another season of monster

The CW has two new international dramas ready to heat up things this summer. The network has picked up The Rising and Barons (above). Both shows will debut in late May.

A supernatural crime drama series from the UK, The Rising follows a woman (Clara Rugaard) who discovers that she’s dead, and decides to try to solve her own murder. The rest of the cast includes Nicholas Gleaves, William Ash, Matthew McNulty, Rebecca Root, Emily Taaffe, Alex Lanipekun, Ann Ogbomo, Nenda Neururer, Robyn Cara, Solly McLeod, Cameron Howitt, and Lee Byford. There are eight episodes.

An Australian drama series, the Barons TV show is set in the 1970s and follows the parallel the stories of the Billabong and Quiksilver surf labels. Surfers turn their personal rivalries into professional rivalries as they built competing surfwear companies. The cast includes Sean Keenan, Ben O’Toole, Jillian Nguyen, Hunter Page-Lochard, George Pullar, Lincoln Younes, Sophia Forrest, Vivienne Awosoga, Nicholas Burton, Karina Banno, Megan MacKenzie, Kick Gurry, Catherine Van-Davies, Alexander England, Ione Skye, Sandy Winton, Sebastian Tang, Hafedh Dakhlaoui, and Meg Fraser. There are eight episodes.

The CW revealed the following about the summer shows:

The CW Network today announced two new drama series will make their U.S. debuts on Monday, May 29. Supernatural crime thriller THE RISING will premiere at 8:00-9:00pm ET/PT, followed by Australian surfer drama BARONS at 9:00-10:00pm ET/PT.

THE RISING is the story of Neve Kelly (Clara Rugaard), who discovers that she is dead. Understandably, she’s scared and confused by this new (non) existence, but moreover, when she realizes she has been murdered, she’s furious. Determined to find her killer and get justice, she takes advantage of her new supernatural abilities to go where the police can’t and investigate her own death. In doing so, she uncovers deeply buried secrets and is forced to re-examine everything about her life and the people she cared about. With a distinctive tone and visual style, THE RISING is a story about love, justice and the cost of pursuing the truth in a world that wants to keep it hidden.

From Sky Studios, THE RISING is adapted from the Belgian crime thriller “Beau Séjour” and is written by Pete McTighe (“A Discovery of Witches,” “The Pact”) and Charlotte Wolf (“The Last Kingdom”). Serena Thompson (“Landscapers”) serves as executive producer for Sky Studios alongside Julian Stevens (“The Fall,” “Informer”) and Pete McTighe. Ed Lilly (“Industry”) is lead director. THE RISING is distributed by NBCUniversal Global Distribution on behalf of Sky Studios.

Created by Emmy(R)-nominated writer Liz Doran (“Doctor Doctor,” “Please Like Me”), Michael Lawrence (“Bra Boys”) and John Molloy (“The Gloaming”), and directed by Shawn Seet (“Reckoning”) in collaboration with iconic surf director Taylor Steele (“Momentum Generation”), BARONS is set at a time of sexual liberation, social disruption, protest and war. The eight-part series captures a unique moment of upheaval and opportunity as a new surfing counterculture collides with the realities of enterprise. Two best friends, inspired by their love for the Australian beach, create what will become rival iconic surf brands. Little do they know that their success will tear them – and their worlds – apart. When their businesses go mainstream, the young rebels and their friends find themselves pulled deep into a world of corporate politics, jealousy, homophobia and racial tension. In selling their dream to the world, they create bitter, lasting rivalries. BARONS is a Micanical Media, 2 Jons and Fremantle Australia production. Fremantle is handling global distribution.

MONDAY, MAY 29

8:00-9:00pm THE RISING (Series Premiere)
9:00-10:00pm BARONS (Series Premiere)

What do you think? Do you plan to watch these shows on The CW this summer?

Check out our CW status sheet to track the smallest network’s new series pickups, renewals, and cancellations. You can find lists of cancelled shows here.

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by Regina Avalos, April 25, 2023 The CW

And the Oscar date goes to … March 10.

For a second consecutive year, the Academy of Motion Picture Arts and Sciences has set the second Sunday in March for its Academy Awards gala. The return to normalcy comes after the 2022 ceremony was held March 27 and the Covid-delayed 2021 show was April 25.

The 96th Oscars again will air live coast-to-coast on ABC from the Dolby Theatre in Hollywood.

The Academy Awards nominations will be announced Tuesday, January 23, following the a Christmas Week shortlists reveal on Thursday, December 21.

The annual Governors Awards will be held Saturday, November 18, and the Sci-Tech Oscars will be handed out Friday, February 23.

Here are the key dates for the 2023-24 Oscar season: 

Wednesday, November 15: General entry categories submission deadline         
Saturday, November 18: Governors Awards                                                     
Thursday, December 14: Preliminary voting begins 9 a.m. PT                         
Monday, December 18: Preliminary voting ends 5 p.m. PT
Thursday, December 21: Oscar Shortlists Announcement                                
Sunday, December 31: Eligibility period ends                                                 
Thursday, January 11: Nominations voting begins 9 a.m. PT                       
Tuesday, January 16: Nominations voting ends 5 p.m. PT                          
Tuesday, January 23: Oscar Nominations Announcement                           
Monday, February 12: Oscar Nominees Luncheon                                       
Thursday, February 22: Final voting begins 9 a.m. PT                                  
Friday, February 23: Scientific and Technical Awards                               
Tuesday, February 27: Final voting ends 5 p.m. PT                                     
Sunday, March 10: 96th Oscars    

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And the Oscar date goes to …

Well, you just finished your movie? Congratulations! Now comes the hard part: Promoting your movie and getting it into a reputable festival like Raindance.

The first year, after the completion of your movie, you must try famous film festivals. Why? Because if a famous festival, like Raindance, selects your movie then things become much easier because of status and because you may even get offers from other festivals. I know because I’ve done that! 

If some unknown festival selects your film and then screens it, then no famous film festival probably will select your film. That’s just the way this business runs.

I don’t need to tell you how to submit, we all know of FilmFreeway. 

But what are the very first steps you should take even before submitting your movie?

That’s what this article is about Getting good reviews of your movie. 

I made a movie, my third, and it is called “Grapefruit.” It is a surreal avant-garde movie about a person who has led a very avant-garde life. It’s about Yoko Ono’s life as an artist in 1964 before she met John Lennon. It stars singer Natsuki Belleza and Hiroshi Matsumoto.

First off, you don’t need a long-winded review. You only need a few sentences, a blurb, from several people, preferably famous or sort of famous.

But how? How many of us know of famous people who will write us a short blurb? We have to think and really consider the people we know. 

I thought about it and I know a writer/DJ named Darryl Bullock in the UK. Darryl has written several award-winning books! He was the first person I wrote to. Darryl wrote me a great blurb and I use it to this day!

Then I wrote to a famous TV caster, a writer, some more musicians, and a few others. They all gladly wrote great blurbs for me.

You don’t know anyone who is sort of famous? No problem. Just get your friends to write blurbs for you. I know, that, the more you think about finding famous people, the more names you’ll come up with.

Then you write your own movie review.

You can use your name or use a pen name. Like this article. “Ricky Zipp,” is not my real name.

Write your own review for your movie. That right! That’s what you should be doing right now.

Writing your own review beats paying some no-name movie critic to write a blurb for you. As those people often seem to usually want money. If you have to pay money, then what is the point of their blurb?

But, why go for a big name? Isn’t the Lame-Stream mass media dying? Look at the others riding a train with you. Who is reading a newspaper? Who watches cable TV news? A magazine?… What’s that? Everywhere you look people are saying the Lame-Stream mass media is dying.

Uh, you are a filmmaker, right? So you know people in this business, right? Ask them. Even your student friends are good.

But what are people watching? Where are people getting their news from? The internet is where people get their information, now that’s for sure. 

A recent Pew Research paper said that “Over 86% of all Americans get their information from the internet.”

Is Siskel & Ebert still doing movie reviews? I don’t think so. Though they do still have their own internet page (reviewing old movies)!

The internet is where it’s all at and will be where it’s at for the foreseeable future. 

“Oh! But I can’t write my own movie review of my own movie!” Look you made a movie, right? If you’ve completed a movie, then there is no reason to be unable to write a review for your movie, or for anyone’s movie

Isn’t the old saying, “Everyone’s a critic?”

Get your blurbs lined up. Put them in a good order. Even bad reviews should be used (sparingly).

Then go to a place, online, that targets your audience. That’s why this article is here: Raindance is 100% the target audience for indie movies. And they publish articles for filmmakers every day! They are desperate to find the next Kurosawa or Cecil B. DeMille!

Make your article about something useful to indie filmmakers and slip in a section about your movie. The information should be brief and be useful to any and all indie filmmakers.

Then, at the bottom of your article, add in the quotes you’ve received. And Viola! You have a great article that is useful to indie filmmakers and it promotes your film!

Here is the email you should submit your article to at Raindance: Blog@raindance.co.uk 

Here are some of the quotes I have received: 

“Mike Rogers’ film, Grapefruit, captures the spirit and elegance of Yoko’s early poetry and performance art in a surreal, dream-like piece.” – Darryl W. Bullock (Author of David Bowie Made Me Gay and The Velvet Mafia. 2023 Winner of the Penderyn Music Book Award, Winner of  the 2023 Shout-Out Award.)

“Artist to artist, what an inspiration.” – Carole Hisasue (Japanese Legendary Radio DJ)

“Not since Brunel’s ‘Un Chien Andalou’ has a surrealist film taken center stage,” – Stephen David Brooks (Multi-Award winning Hollywood Writer, Director. Writer of Stephen King’s film, “The Mangler.”)

“Grapefruit has a very unique view of the world. Avant-garde like Yoko Ono.”  – Naoko Yamano (Shonen Knife)

“Grapefruit” is brilliant. Yoko’s words are beautiful and wise. Music and cinematography is spectacular.” – Mr. Fab (Program Director, WFMU radio New Jersey)

“A visually stunning and thought-provoking film” – Jeremiah Higgins (FM Radio Host in Los Angeles, Calif.)

“Beautiful and jarring.” – Keith Cahoon (President Tower Records Asia)

“This movie is crap.” – Mike Rogers (DJ, Filmmaker)

So, see? I wrote an article that helps you get the promotion you need (by thinking out of the box) and I promoted my movie!

Start sending your movie out to a select few, and get those blurbs. Time’s a-wastin’. 

My next article is a critical one: Getting butts into the seats at your screening at a great film festival, like Raindance. I believe I am the only one who has ever sold out three screenings at Raindance! Even Quentin Tarantino couldn’t do that!

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Well, you just finished your movie? Congratulations!

Southern Georgian Bay OPP are looking for a number of valuable bronze garden statues taken from a home in Tiny Township over winter.

Police say the victims returned to their home after being away for the colder months to find five bronze-coloured garden statues missing from their garden in a Cedar Ridge development.

The statues vary in size from 39 to 49 inches in height and weigh approximately 100 pounds each.

Police say the statues are made of bronze created from a process known as “lost wax casting” and have a value of approximately $20,000 in total.

“(They) are very sentimental to the owner who welcomes their safe return,” police said in a statement.

Read more:

Canadian clinches title of World’s Strongest Man for the 1st time ever

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The statues are known as Wheelbarrow Boy, Hiker Boy, Miss Emily Reading, Hiker Girl, and Serene Man.


Pictures of stolen garden statues from Tiny Township home.


Supplied by OPP


Picture of stolen garden statue from Tiny Township home.


Supplied by OPP

Anyone with information can contact the OPP at 1-888-310-1122, opp.southern.georgian.bay@opp.ca or leave a tip with Crime Stoppers at 1-800-222-TIPS (8477).

&copy 2023 Global News, a division of Corus Entertainment Inc.

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Image Credit: AP

One of the greatest voices that this world was blessed to know was silenced on April 25. Harry Belafonte, a Harlem, New York native who would popularize the Calypso genre of music with songs like “Day-O (The Banana Boat Song),” “Jump in the Line (Shake, Señora),” and more, passed away at age 96. The news of Harry’s death was confirmed to the New York Times by his spokesman, who confirmed that the cause of death was congestive heart failure.

Born Harold George Belafonte, Jr. on March 1, 1927, to emigrants from the Caribbean islands of Martinique and Jamaica, Harry spent his first few years in Harlem. When his mother returned to Jamaica in 1935, he joined her and lived there until 1940. He left high school to serve in the U.S. Navy in the mid-1940s, and returned to New York City after his service was completed, per Britannica. While studying drama at Erwin Piscator’s Dramatic Workshop, Harry began his career as a singer with nightclub gigs. In 1950, he shifted his focus from pop to folk, singing Caribbean folk songs that helped bring Calypso to the mainstream American audience. His breakthrough album, 1956’s Calypso, became a worldwide smash. While he earned the title of “King of Calypso,” Harry recorded music in various genres, including folk, blues, and gospel. Throughout his seven-decade career, he ultimately released 30 studio albums and eight live albums.

Harry Belafonte in concert, January 1981 (AP)

Harry made his Broadway debut in the 1950s, appearing in the musical John Murray Anderson’s Almanac. He won a Tony Award for supporting actor for his appearance. Harry made his film debut in 1953’s Bright Road. He also landed roles in Carmen Jones (1954) and Island In The Sun (1957). His dissatisfaction with the type of roles offered to him led Harry to focus on music in the 1960s and early 1970s. He returned to acting with Buck and the Preacher and Uptown Saturday Night.

Along with his Grammy and Tony awards, Harry won an Emmy for the 1959 TV special, Tonight with Belafonte. Harry also received the Kennedy Center Honors in 1989, the National Medal of arts in 1994, and the Jean Hersholt Humanitarian Award in 2014.

Though Harry earned his place in pop culture with his vibrant and spiritual music, he secured his place in history with his activism. An early supporter of the Civil Rights Movement of the 1950s and 1960s, Harry was a close friend of Dr. Martin Luther King Jr. Throughout his career, he was an advocate of humanitarian and political causes, like the Anti-Apartheid Movement, the USA for Africa, and the ACLU.

Dr. Martin Luther King rejoins his civil rights marchers near Montgomery, the Alabama State Capitol, on March 24, 1965. An Army observation plane flies over the flag-carrying demonstrators. With King are his wife, Coretta Scott King, right, and singer Harry Belafonte, at center beside Dr. King. (AP Images)

“I was an activist who became an artist,” he said in a 2011 interview with PBS. “And my activism really started the day of my birth, born from immigrant parents in New York City. My mother was overwhelmed by America. She came here with hopes and ambitions that were never fulfilled.”

Harry continued to fight for civil rights and use his platform as an activist. He was the subject of the 2023 documentary Following Harry, which followed his efforts in recent years. “At the close of [2011 documentary] Sing Your Song, I expressed my desire for the next generation to take my experiences freely, to learn from them, or to bring something better to move the cause of fighting injustice forward,” he told Deadline in a statement.

Harry was married three times, and he was a father of four kids. He and Marguerite Byrd were married from 1948 to 1957. They welcomed two daughters, Adrienne and Shari. In 1957, he married his second wife, Julie Robinson. They welcomed two children – Gina and David – together, before ultimately calling it quits in 2008 after 47 years of marriage. That year, he married photographer, Pamela Frank. Harry is also survived by five grandchildren.

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Global community development director, Adam Fletcher, confirmed that Diablo 4 is following in the footsteps of Diablo 2 by including permadeath. 

Replying to a fan who had asked what dying in Diablo 4’s PvP hardcore mode would mean for players, Fletcher simply responded to the tweet (opens in new tab)with one word, “permadeath”. This has sent some newer fans into a bit of a panic as many start to plan how to avoid the Fields of Hatred and PvP altogether in fear of overly aggressive players. 

Anyone can enter the Fields of Hatred in Diablo 4’s open world, and once in, players will be at the mercy of monsters and their fellow fans. Killing other RPG players is actually encouraged, as you can collect Shards of Hatred and gain the Fearless Combatant achievement by killing 10 players in PvP hardcore mode.  

Living life on the edge  

For many, the allure of hardcore modes is just too good to pass up. There’s definitely some clout in raging around the Fields of Hatred and ruining someone’s day by unaliving their preciously built character or sneaking about to find the coveted vendors living in PvP zones. Still, it’s also so much more than that. 

Whether it be in Minecraft or The Last of Us Part 2, I love looking for ways to make my experience realistic and, therefore, ten times harder. While it can seriously hurt seeing your character and all your progress disappear before your eyes in mere moments, the pride you feel by living life on the edge and succeeding despite all the difficulties makes it all worth it. 

I’d never pass up a chance to get a little more hardcore in the upcoming Diablo 4, but be warned; it isn’t for the faint of heart, and you can trust no one. So for those who want to take a more casual approach to the action RPG, maybe stick to the more traditional game modes.  

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Global community development director, Adam Fletcher, confirmed

After Don Lemon’s abrupt firing from “CNN This Morning” Monday, co-anchors Kaitlan Collins and Poppy Harlow briefly responded Tuesday, echoing CEO Chris Licht in wishing him “the best.”

“As you may have heard yesterday, CNN parted ways with anchor Don Lemon. In a statement, CNN CEO Chris Licht thanks Don for his contributions over the past 17 years, writing in part, ‘Don will forever be a part of the CNN family. We wish him well. And we’ll be cheering him on in his future endeavors,’” Harlow said, catching the early morning audience up on the previous day’s announcement.

“Of course, Don was a big part of this show over the last six months,” Collins said. “He was one of the first anchors on CNN to have me on his show. That’s something I’ll obviously never forget. I agree with Chris. We wish him the best.”

“We certainly do,” Harlow continued. “Don was one of my first friends here at CNN. I’m so thankful to have worked alongside him and for his support for nearly 15 years here, and I wish him all good things ahead.”

Harlow then pivoted to what was meant to be the main takeaway from their top-of-the-hour statement: Lemon’s dismissal will not change their goal of reporting the news.

“Kaitlan and I are really proud of this show,” she said. “We are so proud of the dedicated team that works around the clock to bring you the news every morning, and our priority is you, the viewer. We’re grateful you welcome us into your home each morning.”

Watch the minute-long statement in the video below, as shared by Twitter account @TVNewsNow.

Lemon was dismissed from his duties at CNN after Monday’s “CNN This Morning” broadcast. He tweeted the news prior to any official statement from Licht and his cable news network, heatedly writing, “I was informed this morning by my agent that I have terminated by CNN. After 17 years at CNN I would have thought that someone in management would have had the decency to tell me directly. At no time was I ever given any indication that I would not be able to continue to do the work I have loved at the network.”

The anchor concluded by saying “it is clear that there are some larger issues at play” and proceeded thank his colleagues and the many teams he have worked with for an “incredible run.”

CNN released a statement of its own saying that Lemon’s interpretation of the matter was false, saying Licht and co. did reach out to the longtime anchor prior to the call with his agent.

“Don Lemon’s statement about this morning’s events is inaccurate,” the network said. “He was offered an opportunity to meet with management but instead released a statement on Twitter.”

The statement followed an internal memo from Licht, who pointed out that “CNN This Morning” has been on the air for nearly six months, and the network is “committed to its success.”

“CNN and Don have parted ways,” Licht wrote in the memo. “Don will forever be a part of the CNN family, and we thank him for his contributions over the past 17 years. We wish him well and will be cheering him on in his future endeavors.”

Loree Seitz contributed to this story.

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After Don Lemon’s abrupt firing from “CNN

Spotify packed on more users than it expected in Q1 but revenue fell short of its guidance, which the company blamed on headwinds in its advertising business.

For the first quarter of 2023, the company said total monthly active users (free and paid) grew by 22% year-over-year to 515 million “driven by strength in both developed and developing markets, and nearly all age groups.” Spotify Premium subscribers grew to 210 million, a net gain of 5 million in the quarter, which beat its expectations with “outperformance across all regions, led by Europe and Latin America.”

Total revenue grew 14% year-over-year to €3.0 billion, below Spotify’s expectation of €3.1 billion “due to macro-related variability in our advertising business.” The company reported a Q1 operating loss of €156 million, which was better than the projected €194 million, helped by lower marketing spend. Spotify swung to a net loss of €225 million in Q1, compared with net income of €131 million a year earlier.

It was Spotify’s “strongest Q1 since going public in 2018” and the second-largest quarter of MAU growth in its history, CEO Daniel Ek tweeted.

Spotify’s overall MAU net additions of 26 million in the quarter were 15 million above guidance — its highest Q1 gains ever and the fifth straight quarter of accelerating growth. Paid subscriber net additions of 5 million also reflected a “material uptick” versus the year-earlier trend and were 3 million above guidance. Spotify’s previous Q1 guidance projected 500 million monthly active users and 207 million Premium subscribers.

Click here to sign up for Variety’s free Strictly Business newsletter covering earnings, financial news and more.

The company is banking on continued user growth in Q2: It expects to add 15 million MAUs to reach 530 million and to gain 7 million Premium subscribers to hit 217 million in the June quarter. Spotify forecast Q2 revenue of €3.2 billion and an operating loss of €129 million.

In Q1, Spotify’s ad revenue came in at €329 million, up 17% year over year but down 27% sequentially. Podcast ad revenue grew nearly 20% year over year, driven by original and exclusive podcasts where sold impressions grew “strong double-digits” and CPMs (cost per thousand impressions) increased in “high single-digits.” Subscription revenue was up 14% year over year but flat sequentially to €2.7 billion.

Last month at its Stream On event, Spotify launched what it touted as the biggest app redesign to date, featuring a new interface with a vertical feed designed to promote discovery of new audio content. The company also highlighted the Q1 beta launch of AI DJ for users in North America, “strengthening our efforts in personalization.” In addition, the company announced that all-time payouts to music-rights holders were approaching $40 billion, claiming it pays nearly 70% of music revenue back to the industry.

As part of its cost-cutting moves, Spotify in January announced a 6% cut of its headcount, laying off about 600 employees. The company took severance charges of €41 million in Q1 related to the layoffs. The company also is shutting down Heardle on May 5, less than a year after Spotify acquired the name-that-tune game.

On the company’s Q3 earnings call in October, Ek said Spotify was considering raising prices on its U.S. subscription plans, following increases by Apple Music and YouTube Premium — but the company hasn’t provided any indication since about when it might enact a price hike. Spotify’s individual tier costs $9.99/month in the U.S., a price that hasn’t changed since the audio streamer launched the service in 2011.

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Spotify packed on more users than it

“I know this will be controversial, but it should be here. The characters in the book were well-defined and complex, and, although slavery was glossed over in the book, it was more clear that was the Confederate point of view, as opposed to a generally accepted fact. The movie, while a technical feat for its day, took well-defined, complex characters and turned them into two-dimensional shells, while glossing over slavery. Which is a huge disservice to the book.” –Tammi Eddy

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"I know this will be

Zack Snyder shared some new photos on social media teasing his upcoming fan event to celebrate the SnyderVerse’s mark on the DCEU.

Recently, the filmmaker announced a Snyder Con event takin place between April 28 and April 30 in Pasadena, California. This will include three separate screenings of his DC Comics movies: Man of Steel, Batman v Superman, and Zack Snyder’s Justice League.

Snyder previously unveiled a new poster for his SnyderCon, which saw all of his DCEU heroes together in an original piece of artwork from iconic artist Jim Lee.

Now, the director shared more images teasing the big screenings.

Re-Living Zack Snyder’s DC Universe

On his personal Vero account, filmmaker Zack Snyder shared some teases for the upcoming Snyder Con event.

In one of his posts, the filmmaker noted that he’s doing “a check of the IMAX,” and he “wish[es] people could see it in this aspect ratio:”

“Doing a check of the IMAX for Sunday looks awesome …I only wish people could see it in this aspect ration in this theater so they could understand”

DC

The filmmaker also included an image and post for the three screenings, each of which will have a Q&A.

The first event will be for Man of Steel on Friday, April 28

Man of Steel
DC

Then, on Saturday, April 29, Batman v Superman will get the spotlight.

Batman
DC

Finally, Sunday brings a highly-anticipated presentation of Snyder’s HBO Max hit from 2021, Zack Snyder’s Justice League.

Iris West
DC

This convention will act as a charity event to raise funds for the American Foundation for Suicide Prevention (an organization that provides support and hope to those affected by suicide) as well as the Autumn Snyder Tribute Fund – a campaign that pays tribute to Snyder’s late daughter.

Putting the SnyderVerse to Rest

Hopefully, these three screenings will allow fans some semblance of closure so that everyone can move on.

Love them or hate them, the SnyderVerse fanbase has been louder than ever ahead of James Gunn’s imminent DCU reboot. While Snyder’s world is never coming back like they want, hopefully, this celebration of the filmmaker’s world will help those fans be at peace with the new direction Warner Bros. is heading in.

Though, fans shouldn’t give up hope entirely that some of the old DCEU will show up again. The moment Multiverse shenanigans start to show their faces, the return of any of the old regime is likely.

Given the tendency of comic book stories, that eventuality is inevitable.

At this point, the real question is: will any big actors carry over to the new DCU timeline?

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Insomniac Games, the studio responsible for the critically acclaimed Marvel’s Spider-Man and Ratchet & Clank franchises, has revealed on its LinkedIn profile that the company has grown to over 520 employees.

The studio is currently working on the highly anticipated Marvel’s Spider-Man 2 for PS5, which is scheduled for release in Fall 2023. Its PS5 output so far includes Marvel’s Spider-Man Remastered, Marvel’s Spider-Man: Miles Morales, and Ratchet & Clank: Rift Apart.

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Insomniac Games, the studio responsible for the

Examine a suspenseful screenplay and imagine the direction we missed. 

Alfred Hitchcock is regarded as one of the greatest filmmakers in the history of cinema, and his work has had a profound influence on the art of filmmaking. Toward the end of his career, we missed out on scripts that might have allowed him to stay in top form. 

Hitchcock is one of the most celebrated filmmakers of all time, known for his mastery of suspense and his ability to keep audiences on the edge of their seats. But one of his most intriguing projects never made it to the big screen, The Short Night. 

Read and Download Alfred Hitchcock’s Lost Film, The Short Night

The Short Night

Screenplay by James Costigan, Ernest Lehman, and David Freeman

Credit: Harry Benson/AP Images

What Happened With Alfred Hitchcock’s The Short Night? 

Alfred Hitchcock’s The Short Night was a film project that was ultimately never completed. The film was intended to be a thriller based on the novel The Short Night by Ronald Kirkbride, which tells the story of a man who is framed for murder and must clear his name.

Hitchcock began work on the film in the early 1970s and had already cast Sean Connery and Liv Ullmann in the lead roles. However, the production was beset by various problems, including issues with the script and budget overruns. Hitchcock also experienced health problems during this time, which further delayed the project.

In 1979, Hitchcock announced that he was canceling the film altogether, citing the difficulties he had encountered in trying to bring the project to fruition. The Short Night remains one of Hitchcock’s most famous unproduced works, and its cancellation is seen as a major disappointment in the history of cinema.

Despite the film never being made, the screenplay has been published and remains a fascinating glimpse into what might have been one of Hitchcock’s most suspenseful works.

Although The Short Night never made it to the big screen, its legacy lives on. As one of Hitchcock’s most famous unproduced works, the film remains a fascinating glimpse into the creative process of one of cinema’s most celebrated directors. While it’s disappointing that we never got to see the finished product, the story of this movie is a testament to the challenges of bringing a cinematic vision to life, even for a master like Hitchcock.

Now read the script and tell us what you think.      

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Examine a suspenseful screenplay and imagine

John Fithian tells TheWrap that he believes the industry, including streamers and a post-Chapek Disney, will put theatrical first — with one exception

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John Fithian tells TheWrap that he believes

Jeremy Strong, Alexander Skarsgård
Photo: Graeme Hunter/HBO

Previous ranking: 1 (down two spots)

At the end of the last episode, Kendall was riding high, finally, officially, in the position he’s always felt he was entitled to. What a difference a day makes. Caught in the same trap as Roman, Kendall comes up with a different answer. Instead of trying to do what he thinks his father would want him to do, he tries acting more like Logan himself. This, of course, backfires badly. Kendall will never be Logan. He didn’t want this deal from the start, and he’s tried to tank it on multiple occasions. Now that he’s finally sitting in the big chair, he has more reason than ever to hold onto the company. But his clumsy efforts to make the company look bad in Norway raise Matsson’s suspicions that he’s trying to “Scooby-Doo” him, and then Roman gives the game away. If Kendall were smart he’d have realized he was looking at a win-win scenario. Either Matsson walks and they get to keep the company, or Matsson offers a huge price and they get a nice payout. So why does it still feel like they lost?

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Jeremy Strong, Alexander SkarsgårdPhoto: Graeme Hunter/HBOPrevious ranking:

Late-night comedians had a field day with Tucker Carlson and Don Lemon’s cable news ousters on Monday, including Jimmy Kimmel, who took the opportunity to joke that he’d also been abruptly let go from his hosting job.

Just as Kimmel was recapping Carlson and Lemon’s respective exits from Fox News and CNN, Kimmel’s sidekick Guillermo cut in with a mock announcement that “ABC TV has decided to part ways with host Jimmy Kimmel. This was a mutual decision… And, on a personal note, I would like to say to Jimmy: Don’t let the door hit your ass on the way out. Loser!”

Elsewhere in his monologue, Kimmel joked that “this is more like an episode of Succession than last night’s episode of Succession,” as Carlson’s departure was reportedly Fox Corp. boss Rupert Murdoch’s decision.

“What a shock,” Kimmel added. “What an absolutely delightful shock this is.” (You can watch his full monologue above.)

Elsewhere on late-night TV…

Late Night host Seth Meyers gleefully recounted the news in an extensive “A Closer Look” segment, who asked: “Does this mean that Fox News has gone… woke?” (That word was accompanied by a scary thunderclap and the laugh of an evil witch.) He then compared his reaction to a series of Tucker Carlson faces and suggested that perhaps “the new green M&M” might take over his old time slot. (The Tonight Show‘s Jimmy Fallon got in on the M&M jokes, too, quipping, “It’s easy to make jokes about Tucker being gone, but now who’s going to tell me which M&M is most woke, y’know?”)

Over on The Daily Show, guest host Desi Lydic couldn’t help but find a little irony in Carlson’s ouster: “I can’t believe a network that’s so opposed to gender-affirming surgery just cut off their own d—k,” she said.

And Late Late Show host James Corden, who will be stepping down from his late-night post at the end of this week, had a different theory for why Carlson and Lemon left their networks so suddenly. “They’re getting out while the going’s good,” he suggested. “Because soon, the only reputable news source in America will be gone on Thursday. It’s us. We break the news, they just take the news.”

Fox News parted ways with Carlson on Monday morning. Interestingly, there was zero indication of Carlson’s exit the previous Friday, when at the close of what would be his final episode he said to viewers a typical, “We’ll be back on Monday.”

Word that CNN terminated Lemon came less than an hour later. At the time, Lemon said he’d been told he was let go by his agent, not by anyone at CNN. Shortly thereafter, the cable news network issued a terse response challenging its ex-employee’s interpretation of events.

“Don Lemon’s statement about this morning’s events is inaccurate,” CNN Communications tweeted. “He was offered an opportunity to meet with management but instead released a statement on Twitter.”

Carlson’s termination comes in the wake of Fox News Channel reaching a settlement in a $1.6 billion defamation lawsuit filed by Dominion Voting Systems, just as their much-publicized trial was about to get underway. Dominion claimed it was owed damages resulting from Fox News’ airing of false claims about its role in the 2020 election. In the past few months, emails and texts gathered for the trial from Fox executives and anchors — Carlson and Sean Hannity included — hinted that people working at the company knowingly put forth false information about the election and Dominion’s involvement in it.

Lemon’s firing, meanwhile, comes three weeks after our sister site Variety published an exposé in which more than a dozen of his former and current colleagues outlined a pattern of allegedly misogynistic, inappropriate and “diva-like” behavior at the cable news network, and more than two months after he received backlash for a sexist statement he made on CNN This Morning in February.

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Late-night comedians had a field day with

Roman Roy is now co-CEO of Waystar RoyCo on HBO’s “Succession,” so it’s only natural that actor Kieran Culkin followed suit with his Emmy campaign.

Culkin, who plays the sarcastic and jokey Roman on HBO’s hit drama series, confirms to Variety exclusively he will be submitted for the lead drama actor category at this year’s Primetime Emmy Awards. This marks a category switch for the actor, who previously submitted in the supporting categories for the three previous seasons. Roman has come to the forefront during this fourth and final season of the show, leading the way on the Waystar-GoJo deal with his siblings Kendall (Jeremy Strong) and Shiv (Sarah Snook).

“If you’re asking if he’s a lead character, then I would say absolutely,” Culkin says during an upcoming episode of the Variety Awards Circuit Podcast. “I think this season was set up before episode three happened as Logan versus Shiv, Roman, Kendall. And then [Logan] passes, and it’s what I think the central focus of the show is — the three of them.”

Read: Variety’s Awards Circuit for the latest Emmy predictions.

Culkin has received two previous Emmy noms for the second and third seasons of “Succession,” losing out to Billy Crudup for “The Morning Show” and his co-star Matthew Macfadyen, who plays the smarmy executive Tom.

Strong won the Emmy for the show’s second season and was nominated again for the third alongside Brian Cox as Logan, the Roy family patriarch. Strong’s team also confirms he will submit for a leading actor bid. There isn’t confirmation yet on where Cox and Snook will ultimately campaign. As it stands, Cox has appeared in three of the five episodes of the season. If he doesn’t appear in any others, he will have carte blanche to submit in any of three acting categories — lead, supporting or guest actor. Per Emmy rules, “Only performers appearing in less than 50% of the eligible episodes can submit in the guest performer categories.”

HBO’s “Succession”
Graeme Hunter

Culkin’s decision has nothing to do with campaign strategy or tactics, saying “It’s just that’s what the show is. If I’m supporting, that would mean Kendall and Shiv are also. And to me, that doesn’t feel like that’s the show. The show has always felt like an ensemble, but the center of gravity is this man, Logan. So it’s always sort of silly to think of these things — who’s lead, who’s supporting, but it always felt like he’s lead, and we’re all dancing around him.”

Culkin has been an accomplished and respected actor for over three decades, with a breadth of work across both film and television. Beginning alongside his real-life older brother Macaulay in the “Home Alone” franchise, his most notable roles have included the rebellious and sardonic teenager in the dramedy “Igby Goes Down” (2002) and the scene-stealing gay roommate in the cult-classic “Scott Pilgrim vs. the World” (2010).

“Succession” airs on Sundays on HBO.

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Roman Roy is now co-CEO of Waystar

Maren Morris Celebrates Tucker Carlson’s Firing After He Labeled Her ‘Lunatic Country Music Person’ | Entertainment Tonight
































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NOW ON VOD! Co-directors Hillary and Anna-Elizabeth Shakespeare, working as “The Shakespeare Sisters,” have brought William Shakespeare’s Much Ado About Nothing to the modern day in their film simply titled Much Ado. The story follows two young women, cousins, and best friends, Hero (Jody Larcombe) and Beatrice (Emma Beth Jones), who are at the home of Hero’s father, Leonato (Peter Saracen). The pot begins to boil when the boys’ Rugby team, including young men Benedick (Johnny Lucas) and Claudio (Luke Hunter), are welcomed to the house at the behest of Leonato.

With all these boys and two beautiful young women, love could be in the air. Beatrice had a fling with the arrogant Benedick in the past and now has sworn off men. Hero is infatuated with Benedick’s friend Claudio but too shy to tell him. The gathering becomes a house party, and shenanigans ensue. These four star-crossed lovers zigzag around each other, and the question becomes whether love will win out in the end.

The challenge with Shakespeare lies in comparison. Much Ado About Nothing, in particular, because of its relative accessibility, has had a number of cinematic versions. Some are great, depending on your personal preferences. Of the many films made from this play, the two that stand out are Joss Whedon’s vanity project from 2012 as a vacation from shooting The Avengers and the impeccable 1993 Kenneth Branagh version. Branagh stars, along with Denzel Washington, Keanu Reeves, Kate Beckinsale, and Emma Thompson. Over the years, Branagh’s Shakespeare films have been the gold standard for how it’s done. His Henry V and Hamlet are just two of a dizzying list of the Bard’s works; he’s got it down to a science.

In that improbably remarkable list, Much Ado About Nothing is arguably his zenith of Shakespeare films. It would, therefore, be grossly unfair to compare Branagh’s version with Much Ado. The Shakespeare Sisters version here is angled toward Young Adult audiences. The setting is a house party. The vibe is hip, with playful young people engaging with one another, surrounded by pop music.

“Hero is infatuated with Benedick’s friend Claudio but too shy to tell him.”

But it is worth noting that The Shakespeare Sisters left out a great deal of the nuance that makes this comedy, well, funny. To wit: Don John’s (Jack Boal) scheming is meant to inject dark conflict but is so exaggerated that it’s laughable. Here, he’s hardly mentioned. Constable Dogberry (Sean Micallef), played to frenzied, hysterical perfection by Micheal Keaton in Branagh’s version, is basically thrown away. Instead, all of the heat and light are focused on the intrigues of the four main characters, and the result is thin and dull by comparison.

Another bone to pick with this production is the stilted performance of the language. Typically it would be sacrilege to suggest changing Shakespeare’s lyrical, flowery language, but it just doesn’t work in this film. An actor who deeply understands the Bard can take his long, overwrought strings of declaration and imbue them with the cadence and gravitas required to make them comprehensible to modern audiences. The young performers in this film just don’t get there. To spin Much Ado as a Young Adult drama, the dialogue should have been modernized to current slang.

Any filmmaker interpreting Shakespeare has a duty to ensure something new is added, and it’s unclear if this film meets that standard. There is, of course, value in an upcoming generation seeing Shakespeare performed by their peers, but beyond that, there isn’t much new.

On the other hand, this is the archetype for romantic comedies in general. As a foundational piece with the language intact, when well-acted, it will always scratch a specific Elizabethan itch for an English-speaking audience. It’s possible that this film will introduce Shakespeare to a younger audience, notwithstanding the grumblings of a cantankerous old critic. Hillary and Anna-Elizabeth Shakespeare should be commended for even trying Much Ado.

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NOW ON VOD! Co-directors Hillary and Anna-Elizabeth

When I was a little girl, my mother had an umbrella that I wasn’t allowed to use. It was a stick umbrella, the expensive kind with a wooden handle, and the top panels were printed with a watery, vague image—green splotches, purple streaks, blue swirls. This was my first introduction to French Impressionist painter Claude Monet, through a museum-branded household object, and for a long time, that’s all I cared to know of the artist. As far as I was concerned, his work was for suburban mothers and other middle-brow shoppers. Even after I had been exposed to his paintings in high school during a school field trip to the Museum of Fine Art in Boston, I continued to associate the Impressionists with mass-produced souvenirs. I had started studying art history and theory somewhat seriously, and Monet was not for serious people. Compared to contemporary art, which was thrillingly opaque, and ancient art, which was fascinatingly distant, these pretty paintings were boring. I didn’t understand what was so revolutionary about abstraction, and I certainly had no idea that Monet’s soft blooms were a direct response to the unprecedented horror of World War I.

I can’t pretend I know exactly what Claude Monet was thinking as he stood at his outdoor easel in Giverny during the summer of 1914. Thousands of French soldiers had already died in the trenches of World War I, and conflict was coming ever closer to the artist. “I shall stay here regardless,” he wrote from his beloved country home, located just 30 miles from the battlefield, “and if those barbarians wish to kill me, I shall die among my canvases, in front of my life’s work.” It was against this backdrop that Monet created his most famous works: a series of horizonless canvases dappled with shadows, lit from above, strewn with blooming water lilies. Like so many before him, Monet honored the slaughtered with flowers. It’s a practice that spans cultures, from the marigolds of Día de los Muertos to the poppies of Remembrance Day. The association between beautiful, generative plants and destructive, uniquely human behavior has been so repeatedly solidified that at times, it can seem innate. Yet it’s something we chose to do—to tie the worst of ourselves to some of the best and brightest things in the natural world. Beauty and violence exist in tandem because we will it so.

When faced with encroaching chaos, in the seventh decade of his life, grieving the deaths of several family members and the slow degradation of his eyesight, Monet chose to look down into the waters of his pleasure pond and paint. He had created this body of water two decades before by diverting a stream into his patch of country marshland and importing exotic blossoms from abroad. His obsession with lotuses and lilies scandalized the locals (who feared the aquatic plants would take over the waterways) but the pond pleased the painter to no end. It was his refuge, the wide world writ small and manageable. “If William Blake saw the world in a grain of sand,” wrote art historian Ross King in Mad Enchantment: Claude Monet and the Painting of the Waterlilies, “Monet could glimpse, in the mirrored surface of his lily pond, the dazzling variety and abundance of nature.” Although the painter admitted to being “embarrassed” by his continued commitment to art during wartime, he felt there was a value in attempting to capture the beauty of his environment. Not only was the act of painting a defiance of the ravages of war, Monet also chose to donate his canvases to the nation—on the condition that the government find a suitable way to display them. The French rose to the occasion, designating an entire gallery in the Musee Orangerie to the painter’s vision.

I have yet to visit this faraway room but I have friends who have spent time there. Some say it was transcendent, while others say it was too busy, too touristy, too familiar. I still want to go, especially now that I know the context of their creation. The ugly truth is that I, like many people, value beauty more dearly when it is set against the backdrop of suffering. Pain validates prettiness, adding an illusion of depth to something that is, on a surface level, attractive enough already. Violence, unlike flowers, was something I’ve always understood to be important, compelling, and worthy of somber consideration. I’m an American and for us, violence is often depicted as a valid form of self-expression. Bloodshed can be edgy or envelope-pushing. According to our filmmakers, it can even be beautiful. “It’s just another color to work with,” Quentin Tarantino once famously said. “It doesn’t mean anything.”

Read more: Why We Love Violent Delights

Except, of course, that second part is not true. Violence in art means something just as bloodshed in life means something. Aesthetics matter, and aestheticizing violence is one way of spinning it into myth, elevating brutal actions to an almost spiritual level. Like beauty, violence can appear transcendent. It can shift one’s reality, alter one’s brain chemistry and even change one’s gene expression. There is a power to it, one that flowers sorely lack.

And yet, we’ve wound these things together, blood and roses. Flowers are a janus symbol, their pretty faces mean both life and death. Wilting flowers in a vase can serve as an artists’ memento mori while fresh flowers in a wreath signify the quickening of new life and the fruits of spring. Even without the war, Monet’s series of immersive, challenging, almost psychedelic canvases, dappled with sacred lotus flowers (a symbol of transcendence, beauty rising from the muck) should matter greatly. Their existence should be enough.

But I’m a rubbernecker; I stare at the crosses by the side of the road, decorated with plastic flowers, scenes from a recent death, and I wonder: Whose life ended on this stretch of highway? I see the fresh flowers in a cemetery and I can’t help but look at the dates. Who died, how young? The truth is that I’m seduced by what sickens me. Even now, I catch myself dismissing the calm, the good, the nice in favor of the poignant, the strange, the intense. Life is full of small, familiar pleasures, yet I still underrate them in favor of those big swoops of drama. I don’t like this about myself.

Lately, I’ve been trying to rewire my brain slightly—to think more like Monet. His wisdom was hard-won, late-in-life. But after living through a pandemic, I feel that I’ve gained some perspective. In the past few years, I’ve attended too many funerals. I’ve become wary of the scent of white lilies. I’ve also had to race to daycare to pick up my daughter after a violent threat was made, images of bloodshed roaring through my head. There was nothing transcendent about those mad minutes, nothing beautiful about the sour smell that emitted from my body for hours afterwards, nothing to be gleaned from the sheer intensity of emotion or the grasping desperation of fear. If there were flowers around that morning, I was unable to see them, much less appreciate their colors.

I could dwell in those places, for they have power and weight, not to mention a healthy population of prisoners. Instead, I’m trying to honor the small plants that come across my path, the fuchsia bursts of fringed polygala, the spotted yellow of a trout lily. I’m not much of a painter, but I can bestow my attention on the things that grow around and in front of me. Their meaning is no more or less than life itself.

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Taylor Swift
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Soon she’ll get better! Taylor Swift addressed fan concern after concertgoers noticed she had injured her hand during one of her recent Eras Tour performances.  

“Just got to play 3 insane shows in Houston and I’m waking up smiling reminiscing about how much fun we all had,” Swift, 33, wrote via Twitter on Monday, April 24, alongside images from her three shows in Houston, Texas. “PS for those asking how I cut my hand, I’m totally fine and it was my fault completely – tripped on my dress hem and fell in the dark backstage while running to a quick change — braced my fall with my palm.”

The Folklore singer, who is gearing up for her concerts in Atlanta next weekend, quipped that the accident was “all very Mercury in retrograde coded” and she was all “good.” 

“Loving this tour so much because of the passion these crowds put into it all,” she gushed. 

Following her explanation, fans flocked to the comments section to share their relief and praised the Grammy winner for her ability to push through her performance.  

“Your mental and physical strength is truly inspiring. Thank you for assuring us you’re okay,” one person wrote, while another replied, “So glad you’re ok, Taylor. Stay safe please!!!!!” 

Swift has had her fair share of mishaps during the Eras Tour, which kicked off last month and marks her first time on the road in over five years. The Evermore songstress once again remained unbothered after a wardrobe malfunction left her in need of assistance during her Tampa, Florida, concert on April 13. 

While performing “Lavender Haze,” the sparkly purple garter Swift was wearing with her sequin Oscar de la Renta T-shirt dress broke. The “Shake It Off” singer did not let the fluke stop the show, however, and walked over to her background vocalists who helped remove the accessory. 

As they adjusted her frock, Swift belted out “I end up in crisis (tale as old as time)” — a timely lyric for the awkward situation. The “Anti-Hero” artist hilariously poked fun at the fashion faux pas by nodding and gesturing as she finished the lyric.  

Swift has faced her fair share of behind-the-scenes drama on tour as well. Us Weekly confirmed earlier this month that the Pennsylvania and longtime boyfriend Joe Alwyn, who were first linked in May 2017, called it quits after six years together. A source exclusively told Us at the time that the Conversations With Friends actor, 32, was finding it hard to deal with Swift’s A-list celebrity status. 

“Fame factored into their split. Joe is very shy and never liked all of the attention that came with dating one of the most popular singers in the world,” the insider explained, adding that the songwriter isn’t at “fault” for the breakup, Alwyn “just didn’t like having to be on all of the time.”

Prior to their split, Swift and Alwyn worked hard to keep their romance under wraps. The duo first got together when the pop star was having a difficult time in the spotlight following her splits from Calvin Harris and Tom Hiddleston and amid her feud with Kim Kardashian and Kanye West. 

“I was falling in love with someone who had a wonderfully normal, balanced life,” Swift revealed in her 2020 Netflix documentary, Miss Americana. “We decided together we wanted our relationship to be private. I was happy. But I wasn’t happy in the way I was trained to be happy. It was happiness without anyone else’s input. We were just happy.”

While the exes have not spoken out about calling it quits, a source told Us exclusively that the “Invisible String” artist is “handling the breakup really well” and “feeling optimistic” about her future. 

“She truly believes whatever is meant to be, will be, and knows everything happens for a reason,” the insider revealed, sharing that Swift is “enjoying her freedom” but is still “adjusting to the single life.” 

The source added that while Swift “isn’t even thinking about getting into another relationship anytime soon,” the “Ivy” singer is doing “great” in this new chapter of her life. 

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Taylor Swift Javier Vicencio/Eyepix Group/Shutterstock Soon she’ll

At CinemaCon 2023, Sony revealed another look at “No Hard Feelings,” the Gene Stupnitsky-directed romp starring Jennifer Lawrence as a down-on-her-luck Uber driver who takes a gig to “date” a socially awkward high schooler to bring the 19-year-old out of his shell before college. It’s an old-school, R-rated star+concept comedy, something that was in short supply even before COVID sent many such titles to streaming platforms.  

The footage features the initial meeting between Lawrence and Andrew Barth Feldman. It’s the full sequence heavily featured in the first trailer, whereby Lawrence attempts to “pick up” the kid at the animal shelter where he volunteers. There’s a dog at the shelter who is apparently addicted to cocaine and who barks furiously when the word “cocaine” is uttered.

We get a slew of not-so-subtle entendres to which the kid has no idea how to react. Again, as seen in the trailer, he is whisked away early into her scary-looking van. The kid eventually realizes that he’s not being taken to his house and eventually pepper-sprays our heroine on the presumption that he’s being kidnapped.

Even while her biggest movies were franchise flicks like “X-Men: Days of Future Past” or “The Hunger Games,” Jennifer Lawrence may have been a butts-in-seats star. She was absolutely an added value element in “Silver Linings Playbook” and “American Hustle,” and films with little to sell except her like “Joy” and “Red Sparrow” pulled respectable grosses with $101 million and $159 million.  

Both films cost too much, at $60 million and $69 million respectively, but there aren’t very many male movie stars who could parlay R-rated, all-by-themselves star vehicles into such global grosses. And “Passengers” did crack $300 million worldwide in 2016, so the only question is why nobody doubts that Chris Pratt is a bankable draw, which he is, even while Lawrence has been on the defensive ever since.  

The film is one of a handful of high-profile R-rated comedies opening this summer, alongside Universal’s “Strays” and Lionsgate’s “Joy Ride,” in what all parties hope will mark a return by audiences who had been avoiding such films in theaters before the pandemic further pushed such offerings off theater screens. By virtue of star power and media-friendly elements, “No Hard Feelings” is arguably the biggest or most prominent of the bunch.  

News of Lionsgate making “Good Fortune” and Sony attaching itself to the zombie comedy “Hell Naw” seems to imply a desire on the part of distributors to get audiences back in the habit of seeking out big-screen laughs even when unattached to franchises or IP.  

“No Hard Feelings” will open on June 23, which will mark 12 years to the weekend that Cameron Diaz’s “Bad Teacher” debuted with $31 million right alongside Pixar’s “Cars 2.” Even as recently as 2019, Gene Stupinitsky’s star-free, R-rated, concept-driven “Good Boys” earned $111 million on a $20 million budget. The hope is that the success of “Good Boys,” rather than the failure of “Long Shot,” is the rule rather than the exception.  

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At CinemaCon 2023, Sony revealed another look

Sony’s quest to turn its hit Playstation games into hit movies and TV shows will continue with “Gran Turismo,” the upcoming Columbia Pictures film from “District 9” director Neill Blomkamp that is based both on a true story and the best-selling racing video game series.

The film will tell the story of Jann Mardenborough (played by “Midsommar” star Archie Madekwe), a British teenager who in 2011 entered GT Academy, an esports tournament created to find “Gran Turismo” players who were good enough at the game to be able to competitively drive real-life race cars. Mardenborough was victorious in the GT Academy competition and became a race car driver for Nissan, competing in the Dubai 24 Hour endurance race.

In the trailer shown at CinemaCon, we see Jann arriving with other GT Academy contestants and being put through the wringer by racing trainer Jack Salter (David Harbour) who puts them through a rigorous boot camp to get them in shape. It’s one thing to know how to hit every corner on a world-class race track and to overtake in a simulation of a Nissan GT-R LM, but as Jann finds out, it’s hard to do it when the g-forces and hot temperatures of an actual race car are bearing down on you.

“If you miss a racing line in a game you can reset,” warns Jack. “If you miss it in a real race, you could die.”

“Gran Turismo” is one of several projects developed by Playstation Productions, which made its big screen debut last year with an adaptation of the Naughty Dog adventure game series “Uncharted” starring Tom Holland. The studio is also developing film adaptations of the post-apocalyptic action game “Days Gone” and the samurai adventure game “Ghost of Tsushima.”

But the biggest hit from Playstation Productions is unquestionably the HBO series “The Last of Us,” which has become as acclaimed as the video game series it is based on and is expected to be a major contender when Emmy nominations are announced this summer.

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Sony’s quest to turn its hit Playstation

This article is part of our Museums special section about how art institutions are reaching out to new artists and attracting new audiences.


Guitarists and their music — from folk singers to rock ’n’ roll stars and protest songs — figure prominently in American history and culture, but the instrument has a notable heritage of its own.

“The guitar itself can have meaning, other than simply being beautiful or making music,” said Mark Scala, chief curator at the Frist Art Museum in Nashville, where “Storied Strings: The Guitar in American Art,” on view from May 26 to Aug. 13, will explore the guitar’s symbolism in American art, from late 18th-century parlor rooms to today’s concert halls.

On display will be more than 165 works: paintings, sculpture, photography, works on paper, illustrations, videos, music in multimedia presentations and musical instruments, including a rare cittern, a popular string instrument in the 18th and 19th centuries, and seminal guitars by Fender, Gibson and C.F. Martin & Company.

Twelve thematic sections, with names like “Cowboy Guitars,” “Iconic Women of Early Country Music” and “Hispanicization,” will weave in how artists and photographers have used the guitar as a visual motif to express the American experience and attitudes, from thorny issues like race and identity to the aesthetics of guitars themselves.

Artworks in “Leisure, Culture, and Comfort: 18th and 19th Century America,” including a painting by Charles Willson Peale from 1771, the earliest image in the exhibition, will show old-fashioned scenes of women playing for pleasure or holding guitars passively.

“The guitar was seen as a symbol of cultivation and sophistication, a sign of domestic achievement, like needlework or writing poetry,” Mr. Scala said. But throughout the show, many images of guitar-playing women counter this gender stereotype, he said, by signaling self-confidence, independence, creativity and even sexual liberation.

“Guitars are kind of equal-opportunity story facilitators,” said Leo Mazow, curator of American art at the Virginia Museum of Fine Arts, who organized “Storied Strings, where it recently closed. (The exhibition will be adapted for the Frist, mainly to reflect Tennessee culture.)

He attributes the instrument’s popularity to its portability, affordability, easy to learn repertoire and ability to host many different genres: “One of the reasons guitars appear frequently in American art is they fit neatly within the picture plane, especially on the diagonal and one’s lap.”

The section “Blues and Folk” will focus on the role of both idioms “in the formation of a voice that comes up from the people, music that has often been conflated to express identity or to encourage change,” Mr. Scala said. Works featuring figures like Lead Belly, Odetta, and Josh White appear here. Romare Bearden’s 1967 collage, “Three Folk Musicians,” a nod to Picasso’s “Three Musicians,” Dr. Mazow said, “is a powerful work because it contrasts the guitar with its Western European origins to the banjo with its West African origins, but carries little to none of the racially vexed baggage that the banjo does.”

Dr. Mazow said that one of his favorite works was Thomas Hart Benton’s “Jessie with Guitar,” of the artist’s daughter, from 1957. “Every birthday he would make a drawing or a painting of her,” he explained, “and this painting is based on sketches completed the morning of her 18th birthday.” Based on conversations with Jessie, who died in February, he said, “this guitar provided a way for the older dad to bond with his young, hip daughter, who was something of a folk sensation.”

“A Change is Coming” will highlight the guitar as a vehicle of political change, with images and videos of musicians — like Woody Guthrie, Bob Dylan and Joan Baez — who “protest the hypocrisy of America’s social and political systems,” Mr. Scala said. Dorothea Lange’s 1935 photograph “Coachella Valley” details a Mexican laborer playing a guitar at a camp in California, and Annie Leibovitz’s 1984 photo of Bruce Springsteen used to promote his “Born in the U.S.A.” tour will be on view.

“Making a Living” will look at the role of money in music, “from historic paintings of blind street buskers to the ultrarich stars of today,” Mr. Scala said. Highlights include a 1912 oil painting by Robert Henri “Blind Singers,” a 1941 photograph by Walker Evans “Blind Man with Guitar,” and more recent images of Chet Atkins and the Carter Sisters performing at the Grand Ole Opry, and Dolly Parton on her tour bus.

“Personification” will explore how the guitar is often associated with the human body, through words to describe it like “neck” and “waist” and at times, phallic connotations. A photograph of B.B. King hugging his guitar named Lucille reflects how the guitar can also be a kind of extension of, or an avatar for the human body, Mr. Scala said.

“The Visual Culture of Early Rock and Roll” will feature electric guitars from the 1950s and ‘60s, including a 1959 Les Paul, instruments played by Eric Clapton, by Keith Richards of the Rolling Stones and footage of Sister Rosetta Tharpe playing electric guitar, a musician who is credited with transforming Black church music. “Most of the guitars in this section were played by male rock ’n’ roll stars,” Mr. Scala said. “I wanted to show her influence on the early development of rock ’n’ roll, puncturing the gender-specific notion of the ‘guitar god.’”

Several design milestones have contributed to the guitar’s appeal as a visual icon. “The first American guitar manufacturer, C.F. Martin,” right after he arrived from Germany in 1833, Dr. Mazow said, “is very concerned with aesthetics. There are several parts of early Martins, like the ornate deck decorations around the sound hole, that are not structural at all.” More than a century later, a 1954 Fender Stratocaster, which will be on view, is believed to be the first custom-painted model, he said. “It takes us back to a moment when one of the premier electric guitar makers decided that aesthetics count.”

Paul Polycarpou, a guitar collector, whose rare pink Stratocaster appears in the show, said, “It’s art you can play.” Mr. Polycarpou, former editor and publisher of Nashville Arts Magazine, arrived in Nashville in the 1980s from England to play guitar on tour with Tammy Wynette. “It really is ground zero for guitar players,” he said of Nashville. “Not just in country music, but in all genres, whether it’s jazz, rockabilly, rock ’n’ roll or bluegrass.”

The Frist recently opened a companion exhibition, “Guitar Town: Picturing Performance Today,” on view through Aug. 20, featuring works by 10 local photographers who celebrate Nashville’s music scene, with images of guitar players performing in venues across the city.

“Anywhere in America, if you’ve got a story to tell, the guitar will help you tell it,” Mr. Polycarpou said. “That’s what makes it such a powerful symbol. Who can forget Elvis Presley, rocking with that guitar? You can’t forget that image of a young Bob Dylan singing ‘Blowin’ in the Wind’ on a black-and-white television. You can’t forget that once you see it. It’s that powerful.”

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BTS member J-Hope enlisted for military last week. (Pic: Twitter)

The first set of photos of BTS member J-Hope from his military training has leaked online. Hobi looks handsome in his uniform.

BTS member J-Hope’s photos from the military have leaked online and the ARMY feel assured to see him hale and hearty. Jung Hoseok enlisted for his military training last week, with RM, Jin, Suga, Jimin, V, and Jungkook coming to see him off. A week after his enlistment and photos surfaced online showing Hobi posing in his military uniform.

The BTS member was seen seated and posing with his squad while wearing his uniform and a cap that came with the uniform. He posed with a finger heart and a smile. In another picture leaked online, Hobi appeared to be having a meal in the canteen while posing for a photo. The K-pop idol’s photos have now gone viral.

J-Hope is the second BTS member to have enlisted for South Korea’s compulsory military training. BTS singer Jin enlisted for the training in December last year.

Last week, it was reported that Jung Hoseok entered his designated military base seven minutes before his 2 pm deadline. Jin reportedly requested time off from his duties to join his fellow members and see Hobi off. It was also reported that J-Hope is starting his 5-week training at the army boot camp in Gangwon Province.

In his last Weverse live session before the training, J-Hope expressed his gratitude toward members of the ARMY and greeted them with some warm hugs as always, staying true to his signature introduction “I am your hope”. He also shared that he is expected to be discharged from his military duties on October 17, 2024, which will mark the 18 months of his enlistment. Reading a comment that read, “October 17, 2024—Hobi’s discharge date, I’ll be waiting for this day only.” The BTS star replied, “October 17, right. I’ll be back safely.”

Read all the Latest Movies News and Entertainment News here

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BTS member J-Hope enlisted for military last

Daytime talk show host-with-the-most, Drew Barrymore, is known for getting up close and personal with guests, but is her intimate interview style too much for a former first lady?

On Monday’s episode of “The Drew Barrymore Show” the host addressed the internet fodder regarding her touchy-feely persona with a gimmick involving duct tape and the Secret Service.

In her opening segment, Barrymore sat in her armchair with a nervous expression as her “Drew’s News” co-host Ross Mathews and two Secret Service agents approached wielding yellow tape ahead of her interview with former First Lady Michelle Obama.

“Hey, Drew. These are my friends from the Secret Service,” Mathews said. “They saw the memes about how close you get to people you’re interviewing and they just want to make sure you aren’t gonna pounce on our special guest today, so I’m gonna go ahead and strap you down.”

Barrymore gave rueful nods as Mathews taped her to her seat. “Oh gosh, I get it,” she said. “Look, I’m in on the joke, I know that I get too close to people and I’m too much, but what do you expect with the guest we have coming out?”

“Who wouldn’t want to be close to [her]? … I’ll tell you one thing — I have to be myself,” she said before breaking herself free from the constraints.

Barrymore welcomed Obama onto the show to discuss her new book, “The Light We Carry: Overcoming in Uncertain Times,” saying that, at night, she’d hold the book to her chest wishing the former first lady were her family, mom, sister.

In the follow-up to Obama’s acclaimed bestseller “Becoming,” Obama discusses strategies for staying hopeful and balanced in an era of uncertainty. The book also takes a deeper look at issues around race, gender and visibility, as well as practical wisdom and advice for working through fear, finding strength in community, and living life with boldness.

Barrymore asked Obama how to live a big life and remain grounded and connected.

“It’s a deep, very good question, because it’s not just for people who are living the stereotypic big life because no matter how far we’ve gone I still see myself the way you see yourself,” the former first lady said.

“I am Michelle Robinson. Nobody knew who we were until we were in our 40s. I mean, who is Barack Obama? We’ve spent the majority of our lives living as a lovely, loving married couple on the South Side of Chicago, we had great jobs, we got engaged in service, we had these two little girls, and then my husband decided to run for president and I was like, ‘What is wrong with you? We have a nice life here.’

“So what I say about the White House, the White House doesn’t change you, who you are, it reveals who you are,” she continued. “And if you were raised to be grounded and humble, you practice that, that is who you are. And so for me, I was raised on the South Side of Chicago by Marian and Fraser Robinson, and they taught us to respect people, to work hard, to treat each other as we would want to be treated.”

Drew Barrymore holds hands with Michelle Obama on “The Drew Barrymore Show” on Monday.

(The Drew Barrymore Show / Ash Bean)

Barrymore almost made it to the end of the interview without doing her famous chair scoot, but when Drew revealed that she’d once seen Obama at a gala and felt too intimidated to walk over and greet her, the former first lady encouraged her to “cross hard rooms,” and Barrymore caved and inched toward the former first lady to hold her hands.

“Get close, girl!” Obama said, laughing

“OK, so I need to cross the room?” Barrymore asked.

“You have to cross the room. Especially if it’s me,” Obama replied. “Do it.”

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Daytime talk show host-with-the-most, Drew Barrymore,

The rise of artificial intelligence is just getting started. From custom illustrations imagining anything you might desire, to having AI literally scripting out stories, many people are wondering how the phenomenon will be affecting the entertainment industry in the coming years. It’s a question that was posited to Avengers: Infinity War and Endgame co-director Joe Russo, and as far as he sees it, it’s looking like AI will be full-on making movies in Hollywood within a couple of years time.


Russo explains how this is the latest step in the advancement of technology. It’s going to be “embraced by Gen Z” as they grew up with it and know how to use it. He says that this is different from an out-of-touch uncle who doesn’t know how to send emails, and surmises that younger filmmakers will be utilizing AI for the creative process of their films in the near future, and it’s probably only going to grow from there. As Russo explains, filmmakers will essentially have the ability to fully script out a feature film and even mimic the people in it, whether it’s themselves or even dead celebrities. As Russo explains, via Collider:

“Potentially, what you could do with it is obviously use it to engineer storytelling and change storytelling. So you have a constantly evolving story, either in a game or in a movie, or a TV show. You could walk into your house and save the AI on your streaming platform. ‘Hey, I want a movie starring my photoreal avatar and Marilyn Monroe’s photoreal avatar. I want it to be a rom-com because I’ve had a rough day,’ and it renders a very competent story with dialogue that mimics your voice. It mimics your voice, and suddenly now you have a rom-com starring you that’s 90 minutes long. So you can curate your story specifically to you.”

Related: Russo Brothers Discuss Possibility of Extraction 3 Ahead of Sequel’s Release


Will Artificial Intelligence Take Over Hollywood?

A24

While the rise of AI is exciting for some, others are concerned about the effects that it will have on various forms of entertainment. Because of how quickly the technology is advancing, it’s theorized that we may not be too far off from having full 90-minute films made in moments, from the writing of the story to acting out the scenes without real people. Russo notes how it’s still fairly early in the process, but he predicts that it won’t be very long before AI is running wild in Hollywood.

“[AI] is certainly in the nascent stages, yeah, that is a critical issue. I’m on the board of a few AI companies, I’m gonna speak from my experience of being on the board of those companies is that, there are AI companies that are developing AI to protect you from AI. And unfortunately, we’re in that world, and you will need an AI in your life because whether we want to see it developed or not, people who are not friendly to us may develop it anyways. So, we’re going to be in that future. The question is, then, how we protect ourselves in that future?”

When asked how long he thinks we have until full-on AI movies are released, Russo had this guesstimate:

“Two years.”

Perhaps we should be enjoying “old-fashioned movies,” with genuine scriptwriters, directors, and actors, while we still can.

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The rise of artificial intelligence is just

The long-running legal tussle between Apple and Epic Games picked up another ruling, in the former’s favor, although the three-judge panel also upheld a part of the original ruling in Epic’s favor. The US Ninth Circuit Court of Appeals upheld a lower court ruling, which rejected most of Epic’s claims that Apple violated federal competition law by prohibiting other app stores on its devices.

“There is a lively and important debate about the role played in our economy and democracy by online transaction platforms with market power,” the panel wrote in the decision. “Our job as a federal court of appeals, however, is not to resolve that debate — nor could we even attempt to do so. Instead, in this decision, we faithfully applied existing precedent to the facts.” In short, the ruling maintains the status quo – unless further appeals move the case to a higher court.

– Mat Smith

The Morning After isn’t just a newsletter – it’s also a daily podcast. Get our daily audio briefings, Monday through Friday, by subscribing right here.

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“Feel free to use my voice without penalty,” the artist tweeted.

Jordan Strauss/Invision/AP

Canadian musician Grimes says AI artists can use her voice without worrying about copyright or legal enforcement. “I’ll split 50% royalties on any successful AI-generated song that uses my voice. Same deal as I would with any artist I collab with,” she tweeted on Sunday.

It comes after streaming platforms removed an AI-generated song using simulated voices of Drake and The Weeknd. Universal Music Group (UMG), which represents both artists, called for the purge after “Heart on My Sleeve” garnered over 15 million listens on TikTok and 600,000 on Spotify. UMG argued that publishing a song trained on its artists’ voices was “a breach of our agreements and a violation of copyright law.”

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It hopes to head off an EU investigation, but ‘a deal is not certain.’

Microsoft has agreed to stop bundling its Teams remote collaboration software with its Office productivity suite, according to the Financial Times. The company’s move attempts to head off an official EU antitrust investigation as it deals with its most significant regulatory concerns in over a decade. The FT’s sources say companies will eventually be able to buy Office with or without Teams installed, “but the mechanism on how to do this remains unclear.” Microsoft is facing its first regulatory issues in a decade. The company agreed to a settlement with the European Commission in 2009, offering European customers a choice of web browsers; it was fined €561 million in 2013 for failing to adhere consistently to that ruling.

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There are also annotation improvements and a two-column layout.

The Kindle Scribe will soon be able to send documents directly from Microsoft Word to the e-reader with just a few clicks. This means you can read documents on the go or physically annotate them using the touchscreen and a Scribe pen. There’s also a new multi-column layout for reading two pages at once.

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Pre-orders will open on Kickstarter this fall.

Activision has teamed up with board game publisher Arcane Wonders, along with Genuine Entertainment and Evolution to make the game. Call of Duty: The Board Game is said to be a fast-paced blend of combat, strategy and tactical planning. However, what that means in the context of a board game is unclear. Also, does multibillion-dollar publisher Activision really need to be selling its wares on Kickstarter?

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The long-running legal tussle between Apple and

How does Scorsese layer things in his movies? 

Martin Scorsese‘s The Departed is a crime thriller that explores the world of organized crime and undercover police work in Boston. The film’s use of color and symbolism is a crucial element of its visual style and storytelling.

In this article, we will examine Scorsese’s use of these in The Departed, exploring how it enhances the film’s themes and character development.

Let’s dive in. 

How Does Scorsese Layers Symbolism and Color?

Scorsese is known for his masterful use of symbolism and color in his films, and The Departed is no exception. In this film, Scorsese uses a multi-layered approach to symbolism and color that creates a rich and complex narrative.

One of the most prominent examples of Scorsese’s use of color in The Departed is his use of the color blue. We’ll get to that. Also, the color red is used to represent danger and violence, as seen in the blood spatter that appears in several scenes. The color green is used to represent money and greed, as well as the Irish heritage of the characters.

Scorsese also layers symbolism into the film through his use of imagery and motifs. The recurring image of rats, for example, reinforces the idea of betrayal and duplicity in the film. The use of religious symbols and imagery, such as crucifixes and church scenes, adds another layer of symbolism that underscores the theme of morality and ethics. 

Another way in which Scorsese layers symbolism is through his use of framing and composition. The repeated use of “X” shapes in the film, as well as the placement of characters against certain backgrounds, creates a sense of visual unity and coherence that adds to the film’s overall impact.

We’ll expand on these later. 

How Does Martin Scorsese Use the Color Blue in The Departed?

Scorsese’s use of color in The Departed is a notable aspect of the film’s visual style, and the color blue plays a significant role in the movie’s storytelling and mood.

One of the primary ways Scorsese uses blue in The Departed is through the film’s cinematography. The film’s color palette is dominated by blue and its shades, which creates a dark, moody, and somber atmosphere. 

Blue lighting is used extensively in scenes set in the police station, emphasizing the cold and sterile environment where the police officers work. The use of blue lighting in these scenes not only adds to the film’s visual aesthetic but also helps to underscore the moral ambiguity and ethical dilemmas of the characters. The police officers are supposed to be the good guys, but they are often seen doing morally questionable things, and the blue lighting helps to reinforce this moral ambiguity.

In addition to the cinematography, blue is often associated with the character of Colin Sullivan (Matt Damon) who is a member of the Irish mafia and works as a mole for them within the Boston police department. Colin wears a blue tie in several scenes, and his apartment is decorated with blue furniture, emphasizing his deception and duality.

When he’s shot at the end? It’s Mark Wahlberg in head-to-toe blue who does it. 

On the other hand, the character of Billy Costigan (Leonardo DiCaprio) is associated with the color brown, which represents his working-class background and his connection to the streets. 

The contrast between the blue and brown color schemes reinforces the idea that these two characters come from different worlds and are engaged in a dangerous game of deception and betrayal.

‘The Departed’Credit: Warner Bros. Pictures

What Other Symbolism Exists in The Departed? 

In addition to using the color blue, the movie features several other forms of symbolism that contribute to the film’s rich and complex narrative. Here are a few examples:

  1. Rats: Throughout the film, rats are used as a recurring symbol to represent betrayal and duplicity. In the opening scene, a rat is shown scurrying across the street, and later, it is revealed that one of the characters is working as an informant for the police. The use of rats underscores the theme of deception and reinforces the idea that no one in the film can be trusted.

  2. Religion: Religion is also a significant theme in The Departed. Several characters, including Frank Costello (Jack Nicholson) and Billy Costigan, attend church or are shown wearing religious symbols such as crucifixes. The use of religion in the film underscores the idea of morality and ethics and how these values can be manipulated or ignored in the pursuit of power.

  3. Food: Food is used symbolically in several scenes throughout the film. For example, Frank Costello offers cranberry juice to Colin Sullivan (played by Matt Damon) in one scene, which is a nod to the fact that cranberries are a major crop in Massachusetts and a symbol of the state. The use of food reinforces the idea that the film takes place in a specific location with its own unique culture and identity.

  4. Firearms: Firearms are used as a symbol of power and control in “The Departed.” The characters who have access to guns, such as the police officers and members of the Irish mafia, are shown to have more power and control over their environment. The use of firearms reinforces the theme of violence and danger that runs throughout the film.

  5. The letter ‘X’: The letter “X” is also used symbolically to represent death and mortality. In several scenes, characters who are about to die are shown framed against a background of “X” shapes, such as the metal grating in an elevator or the windows of a building. This use of the letter “X” underscores the film’s themes of violence and danger and reinforces the idea that death always lurks around the corner.

By using a range of different symbols and motifs, Scorsese creates a rich and complex narrative that explores themes of identity, loyalty, betrayal, and power. The use of these symbols reinforces the film’s central ideas and adds depth and complexity to its characters and themes.

The ending shot of a rat in 'The Departed'
‘The Departed’Credit: Warner Bros. Pictures

Summing Up How Martin Scorsese Uses the Color Blue in The Departed

Scorsese’s use of blue in The Departed is an excellent example of how color can be used to enhance a film’s storytelling and create a particular mood. The film’s visual style, including its blue lighting and color scheme, reinforces the moral ambiguity and ethical dilemmas of the characters, while also symbolizing their allegiances and conflicts.

Overall, Scorsese’s masterful use of color in The Departed is one of the many reasons why the film is considered a modern classic in the crime genre.

Let me know what you think in the comments.      

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How does Scorsese layer things in

The studio will release 23 movies in theaters in ’23, an attempt to — as chairman Tom Rothman put it — mix big IP, originals, and one Apple epic.

Sony kicked off CinemaCon’s four days of studio presentations with one hell of a mission statement: “We are not fucking around here,” Sony Pictures Entertainment chairman Tom Rothman told a theater full of theater owners. Badass trailers for “The Equalizer 3” and “Kraven the Hunter,” as well as first footage from raunchy R-rated Jennifer Lawrence comedy “No Hard Feelings,” backed him up.

Rothman wasn’t the only one flying past PG-13 on Monday. Footage from the newest “Equalizer” and “Kraven,” which is Sony’s first R-rated Marvel film, brought the gore (and Aaron Taylor-Johnson got in early on the F-bomb train), and the J. Law comedy was nothing but (very well-received) sex jokes. Clearly, Sony was sending a message about boldness.

Still not sold? The studio kicked off the entire program with Will Smith (and Martin Lawrence), which is certainly a choice. The “King Richard” Best Actor winner who has since been expelled from the Academy for slapping Chris Rock appeared in a pre-roll to promote “Bad Boys 4,” which is filming now. But above all, Sony Pictures Entertainment president Josh Greenstein said the real reason they’re the ones who should be opening CinemaCon was because they’re pushing a whopping 23 movies in calendar year 2023. Fair enough.

The slate includes everything from tentpole IP like “Spider-Man: Across the Spider-Verse,” PlayStation’s “Gran Turismo,” and a teaser for the sequel to “Ghostbusters: Afterlife,” but also original properties like GameStop-stock movie “Dumb Money.” The presentation concluded with a first scene from a movie that’s theirs but that they will promote the heck out of with a “robust” theatrical window, Apple’s “Napoleon” from director Ridley Scott and star Joaquin Phoenix.

The first look at that film showed off the enormous scope and brutality on display in a sweeping battle sequence over a frozen battlefield, with Phoenix’s Napoleon sending an army of Russians to their death in the icy water below. The film is one of two Apple films this year after Martin Scorsese’s “Killers of the Flower Moon” that will hit theaters before it hits Apple TV+, the groundwork of what could be a big push for Apple committing to movie theaters. “Napoleon” is hitting theaters worldwide on November 22 before it debuts on Apple TV+, a date for which has not yet been announced.

But Rothman went a step further in his dedication to the movie theater industry by saying that it wasn’t them, but the “punditocracy that pissed on your business,” taking a swipe at everyone — namely us in the media — who doubted the survival of exhibition. “We were sure that movies in movie theaters would not just thrive, but triumph,” he said.

So Rothman is taking risks (beyond just with his language). There’s also “The Machine” with Bert Kreischer and Mark Hamill.

Rothman further added that he still believes in making movies with movie stars, even if data is suggesting that movie stars don’t matter as much. “I really hope our competitors believe that shit,” Rothman said. “I’m here to tell you that true movie stars matter more than ever…streaming doesn’t create movie stars, only global, hit movies do.”

“Spider-Man: Across the Spider-Verse”

Sony/screenshot

One safe bet is “Spider-Man: Across the Spider-Verse.” We’ve been seeing footage of that movie since last year’s CinemaCon, but it was very much “work-in progress” material,” a rough look to be sure for more casual fans but also catnip for those animation buffs who want to see how the sausage is made. But with the movie imminently due for release on June 2, the latest preview looked a whole lot crisper. In fact, they showed an additional 14 minutes, and it was “mostly finished” this time around.

Then there was the first trailer for “Gran Turismo.” And though Sony’s PlayStation Studios is taking a victory lap following “The Last of Us” on HBO, they still have a lot to prove on the theatrical end. But with “Gran Turismo” they’re taking some real laps on the race track, pushing out just the second PlayStation title to hit the big screen after “Uncharted.” And while the first look for “Gran Turismo” made its premiere at CES back in January, they reserved the actual first trailer for CinemaCon.

“Gran Turismo” is directed by Neill Blomkamp (“District 9”), and is both inspired by the video game and based on the true story of teen gamer Jann Mardenborough who became a professional race car driver after winning a series of Nissan competitions thanks to his gaming skills. The film stars Archie Madekwe as Mardenborough alongside Orlando Bloom and David Harbour, and Sony is releasing it on August 11.

The trailer gave a deeper look at Harbour’s character playing a trainer who says that this is not some video game, “this is real,” and being put behind a real car will “tear them to pieces.” He’s right. Beyond the confines of your PlayStation, auto-racing comes with great risks. Rothman has thoughts on the overall topic as it applies to his business.

“The bigger risk than originality,” he said, is “boring the audience to death.” Well, Tom, your turn at CinemaCon was anything but fucking boring for us.

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The studio will release 23 movies in

’90 Day Fiancé’ Bombshell: Jen Reveals to Rishi’s Parents That They’re Engaged (Exclusive) | Entertainment Tonight
































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“A Humbling Blues” – The team faces unexpected challenges while investigating the murder of a homeless man. Also, Haywood and Dryden hit a speedbump in their relationship, and Quinlan struggles with a decision at Ruskin Gardens, on EAST NEW YORK, Sunday, May 7 (9:00-10:00 PM, ET/PT) on the CBS Television Network, and available to stream live and on demand on Paramount+*.

WRITTEN BY: Mike Flynn

DIRECTED BY: Mo McRae

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“A Humbling Blues” – The team faces

Fresh off reveals that William Atherton would be reprising his “Ghostbusters” role as Walter Peck, Sony’s CinemaCon presentation also offered up the first tease to the sequel to “Ghostbusters: Afterlife.” Jason Reitman and Gil Kenan appeared in a pre-taped video reminding us about the world premiere of “Ghostbusters: Afterlife” at the 2021 CInemaCon. We also get an on-set moment of all the new characters (including Carrie Coon and Paul Rudd alongside Mckenna Grace and Finn Wolfhard) in Ghostbusters costumes.

The film has been slated for December 20, 2023, although Warner Bros. Discovery moving “Aquaman and the Lost Kingdom” into that pre-Christmas slot implies (speculation) that the Sony film might get pushed to 2024.

The film, now directed by the previous film’s co-writer, Gil Kenan, with Jason Reitman remaining as a producer, will hope to capitalize on a relatively well-received legacy sequel that earned $206 million worldwide on a $75 million budget. It’ll have to thread a needle of offering a sequel that centers the new cast, because plenty of younger moviegoers liked the film on its own merits and takes the “mythology” in new directions without succumbing to fan backlash. 

To be fair, maybe the big challenge for Sony may just be ignoring the online backlash since at least some of it will be performative, disingenuous and in pursuit of viewers and ad dollars that now exists in what is essentially a YouTube pop culture trolling industrial complex. We had a chance to nip this in the bud way back when #BoycottEpisodeVII was revealed as a prank and “The Force Awakens” soared to $2.068 billion worldwide, but now it’s a back-and-forth economy unto itself.  

The issue with “Ghostbusters: Answer the Call” wasn’t that it starred four female comic actresses in a previously male-dominated franchise. It was that the Paul Feig-directed sci-fi comedy cost $144 million, and thus its $126 million domestic but just $229 million worldwide total was a disaster. And the reason this “for the fans” legacy follow-up worked is because the budget was kept in check in case overseas audiences again stayed home, which they did. 

Will it be a reprise of “Star Wars: The Last Jedi” where “fans” are okay with a young female lead when she was anchored and approved by original franchise characters only to revolt when the sequel questions the dogma and puts her on her own path? And if that happens, will Sony be wise and experienced to know that, presuming the reviews and general audience word-of-mouth is solid, the online heckling doesn’t represent a mainstream consensus? God willing. 

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Fresh off reveals that William Atherton would

Kraven and Spider-Man
Image: Disney XD via Getty Images

Sony has long threatened to double down on Spider-Man villain movies. But after the collapse of the Sinister Six movie and another round of reboots, the only two that remained on the map were Venom and Kraven The Hunter. Two Venom movies later, a Kraven movie is still on the slate, and now it has a rating.

At CinemaCon, the hunter himself, Aaron Taylor-Johnson (via video presentation), announced that “fuck yeah,” Kraven’s getting an R-rating. While that’s hardly surprising in our Deadpool–obsessed society, it is a milestone for the studio. It’s the first Spider-Man spin-off to nab the anything-goes bloodletting that Fox has lorded over other superhero movies for the last decade. No longer the domain of Logan and Deadpool, Kraven doesn’t mince words. The first teaser for the film is a bloody good time, filled with Taylor-Johnson wielding a giant crossbow, biting some goon’s nose off, and unboxing a jacket with a ridiculous fur collar.

Though the teaser offers little about the plot, the movie follows the Venom model. It’s a superhero movie first, without much hint that Kraven will be hunting down his most dangerous game, Spider-Man. Instead, it looks like he’s tracking big game hunters and poachers and avenging his father, Russell Crowe.

Kraven The Hunter runs barefoot into theaters on October 6, 2023.

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Kraven and Spider-ManImage: Disney XD via Getty

Some people are seemingly obsessed with every move, good or bad, Britain’s royal family makes. Why? Well, getting to the bottom of that is why I wanted to review the 68-minute-long documentary King Charles III: The New Monarchy. So does the film, written by director Tara Pirnia and Larissa Garcia-Baab, hold any appeal for those whose knowledge of Prince Charles, now King, comes from skimming headlines every now and then?

King Charles III: The New Monarchy gives audiences a rundown of Charles Philip Arthur George’s life. It examines his schooling, military career, and of course, his courtship with Camilla, Di, and then Camilla again. But the thing that prevents this from feeling like a filmed Wikipedia entry is the focus on parenting.

“…audiences a rundown of Charles Philip Arthur George’s life.”

Seriously, the various interviewees, including Katie Nicholl and Dickie Arbiter, go on at length about how his parents treated Prince Charles. His father and mother were often so busy dealing with various issues of state that they weren’t around much. It’s told that the young lad, and his siblings, were essentially raised by their nanny. In direct contrast, Charles rearranged several up-to-then norms of being the Prince of Wales so he could be home for supper and bath time with William and Harry. Also discussed at length is how Charles and the “people’s princess” kept their personal relationship failing from the children as much as possible.

The focus on his parental role models, or lack thereof, and how Charles raised his offspring makes the man very relatable. It also keeps the film from being merely a puff piece. Yes, large controversies are avoided as much as possible (Charles’ reaction to Andrew’s Epstein connection is not even hinted at). But understanding what a family unit means to Charles and how he made that a reality for himself, as much as possible at least, is engaging and will keep anyone watching hooked to the end.

King Charles III: The New Monarchy sings effusive praise of the now King Charles III. So those hoping for a warts and all look at the royal member’s life will be left wanting. However, fluff can still be entertaining, and Pirnia’s excellent pacing makes this a quick watch. More importantly, by honing in on family, the filmmaker makes someone who seems so much larger than life down to earth and relatable. And this is coming from a guy who doesn’t really care about the royal family of any nation nor has kids.

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Some people are seemingly obsessed with every

Super Mario Brothers character’s name is changed by Nintendo from potential racial slur after three decades

  • The character will have its name changed from Blackie to Spike in Japanese
  • He has been known by this name to Western fans of the video game

Video game maker Nintendo has announced it has changed the Japanese name of the foreman from The Super Mario Bros. Movie, ahead of the film’s release in Japan later this month.

The character, who first featured as an enemy of Mario in the 1980s game Wrecking Crew, will have its name changed from Blackie to Spike in Japanese, as he has been known to Western fans of the video game for the past three decades.

Nintendo did not immediately provide a reason for the decision to change the name, which is a racist slur in Western countries. It noted that the new Japanese name will be the same as the name used in Europe and the United States.

‘The name in “The Super Mario Bros. Movie,” which will be released on April 28, 2023, will be “Spike” as well,’ the company wrote in a tweet posted to its official Japanese Twitter account last Thursday.

Foreman Spike originally made an appearance in the 1985 Wrecking Crew series as a construction worker and an enemy of Mario. 

The character (pictured), who first featured as an enemy of Mario in the 1980s game Wrecking Crew, will have its name changed from Blackie to Spike in Japanese, as he has been known to Western fans of the video game for the past three decades

Pictured: Spike. Nintendo did not immediately provide a reason for the decision to change the name, which is a racist slur in Western countries

Pictured: Spike. Nintendo did not immediately provide a reason for the decision to change the name, which is a racist slur in Western countries 

In the Super Mario Bros. Movie, he is the former boss of Mario and his brother Luigi before they quit their construction jobs to start their own plumbing business.

The film scored the most successful global opening of all time for an animated film.

It stars Chris Pratt as Mario, Charlie Day as Luigi and Anya Taylor-Joy as Princess Peach. 

The film took $377m (£303m) around the world in its first five days on release, overtaking the previous record of $358m (£288m) held by Frozen 2.

It has a 56% critics’ score on Rotten Tomatoes compared to the 96% audience score. 

Commenting on the disparity, Elon Musk tweeted: ‘Wow, the critics are so disconnected from reality!’

Pictured: Mario, voiced by Chris Pratt, left, and Luigi, voiced by Charlie Day in Nintendo's The Super Mario Bros. Movie

Pictured: Mario, voiced by Chris Pratt, left, and Luigi, voiced by Charlie Day in Nintendo’s The Super Mario Bros. Movie

Nintendo wrote in a tweet posted to its official Japanese Twitter account last Thursday

Nintendo wrote in a tweet posted to its official Japanese Twitter account last Thursday

The film follows Brooklyn plumbers Mario and Luigi as they’re transported down a mysterious pipe while working underground to fix a water main. 

The brothers wander into a ‘magical new world’ and when they’re separated, ‘Mario embarks on an epic quest to find Luigi,’ according to a synopsis on the movie’s website.

The 1993 Super Mario Bros. movie, starring Bob Hoskins and John Leguizamo as Mario and Luigi, was critically panned.

Mario and Luigi have appeared in a variety of Nintendo produced game titles in recent years, including Mario Kart, Super Mario Odyssey, and Super Mario Party.

The video game industry is worth hundreds of billions of pounds globally and is one of the fastest growing industries in the UK, with many turning to gaming during the coronavirus lockdown. 

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SAN FRANCISCO — The U.S. military discovered that an Iranian hacking group had penetrated a local government website that was to report 2020 election results and disrupted the attack before the votes were tallied, officials revealed Monday during a conference of cybersecurity professionals.

Officials said that while neither the votes nor the counting machines would have been affected by the intrusion, the hackers could have rendered the public-facing website for displaying results unreachable or posted fake results, shaking public confidence in the true results.

“It could make it look like the votes had been tampered with,” said Maj. Gen. William J. Hartman, commander of the Cyber Command’s Cyber National Mission Force.

Hartman did not reveal which website had been penetrated. He said his group of 2,000 cyber experts discovered the penetration during its “hunt forward” efforts overseas, then alerted the Department of Homeland Security, which helped the unnamed local government thwart the intrusion.

Hartman spoke during a rare joint presentation with the head of the DHS agency for domestic cyberdefense at the annual RSA security industry conference in San Francisco. Until his presentation Monday, the Iranian intrusion had been classified.

The talk with Eric Goldstein, leader for cybersecurity at the Cybersecurity and Infrastructure Security Agency (CISA), was intended to stress the ongoing and rapid cooperation between the two agencies against spies, ransomware operators and potentially destructive hackers.

Hartman said the Iranian group was known in the industry as Pioneer Kitten, after the private company CrowdStrike’s term for a suspected Iranian government contractor. He said it was a distinct operation from another 2020 Iranian disruption attempt in which faked emails supposedly from the militant far-right Proud Boys threatened voters if they didn’t support Donald Trump.

Another detail declassified for Monday’s presentation concerned the sophisticated and pervasive hacks in 2020 of software from SolarWinds and Microsoft, in which alleged Russian government hackers burrowed deep inside SolarWinds’ process for generating final programming code. The impact of the SolarWinds hack was particularly widespread because the company held contracts to update the computers of scores of businesses and government agencies, including the Commerce and Treasury departments.

After experts at Mandiant detected the attack on the security firm’s own copy of SolarWinds, CISA went to that company and made an electronic copy of its infected server, Goldstein said. Cyber Command then trained its troops on that electronic image, and the practice helped them hunt the programmers behind it, eventually discovering 18 other malicious programs from the same team, which Hartman said was part of Russia’s SVR foreign intelligence agency.

The breaches reached into nine U.S. government agencies, but Goldstein said all were confident they had fully evicted the intruders.

Hartman said the collaboration between Cyber Command and CISA is more extensive than most people realize and that some senior executives and front-line analysts from each agency are physically located at the other agency.

Speaking to reporters after the session, Hartman said his force has undertaken 47 forward operations in the past three years, with teams ranging in size from 10 members to the 43 currently deployed in Ukraine.

Feeding information that those teams have discovered in the field back to CISA has helped the domestic agency warn 160 targets just this year that they were about to be ransomware victims, Goldstein said.

Hartman also disclosed for the first time that Cyber Command had cut off suspected Chinese hackers from access to hundreds of infected Microsoft Exchange email servers in 2021.

The RSA conference takes its name from the RSA security company that began it. The letters come from the last names of RSA founders Ron Rivest, Adi Shamir and Leonard Adleman, all cryptography experts. The company is now owned by Dell EMC.

Tim Starks contributed to this report.

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Comment on this storyCommentSAN FRANCISCO — The

Sony offered up the first footage from “The Equalizer 3” as part of their CinemaCon presentation. It’s the first and only franchise for old-school movie star Denzel Washington. It’s an unapologetic IP cash-in (“The Equalizer” aired on CBS from 1985 to 1989) where the actual star+concept hook – Washington as essentially “Righteous Revenger Man” – is a bigger selling point than the IP. Washington remains a butts-in-seats draw partially because he never allowed himself to be defined by IP or marquee characters. Like Leonardo DiCaprio and Sandra Bullock, the actor *is* the franchise.

Tom Rothman noted at the start of this presentation that many of his competitors believe that the movie star is no more, a notion that Rothman hopes to prove is entirely wrong. Before we even got the footage, Denzel Washington was presented with the 2023 Lifetime Achievement Award by frequent collaborator Antoine Fuqua. This was followed by a sizzle reel of Washington’s many, many rousing onscreen moments.

Washington came on stage to a standing ovation and gave a brief but boisterous acceptance speech, where he intoned that “We would be nothing without you,” referring to the theatrical executives and employees in the audience. Dakota Fanning also took the stage which further pushed the notion that “The Equalizer 3” is a soft legacy sequel to “Man on Fire.”

The “Equalizer 3” trailer began with bad guys strolling through a bloodbath before being confronted by our anti-hero who gives them five seconds to decide their fate. The man has retired from equalizing and living peacefully in Italy. He’s understanding real peace and starting to believe that it’s where it’s supposed to be. Alas, a mafia-placed car bomb and children being menaced put the man back on track to kill the hell of bad guys. The climactic violence is intercut with Washington jokingly conversing with Dakota Fanning.

A third “Equalizer” movie should itself be enough of a draw. “The Equalizer 2” earned grosses ($190 million in 2018) almost identical to “The Equalizer” ($193 million in 2014) despite opening in the middle of a macho-man action summer season alongside “Mission: Impossible – Fallout” and “The Meg.” This third film debuts September 23 of this year, closer to the late-September debut of the first Antoine Fuqua-directed film.

The pairing of Washington and Fanning makes this an unofficial sequel/reunion/etc. to “Man on Fire,” the 2004 favorite that stands as a relative pinnacle of Washington’s hardcore action movies. Heck, Tony Scott’s “old man out for a righteous kill to protect or avenge an innocent white girl from scary foreigners” flick opened five years before Liam Neeson’s “Taken” unofficially made that a sub-genre.

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Sony offered up the first footage from

Everyone who doubted Ryan Gosling’s ability to play Ken in Greta Gerwig’s upcoming epic Barbie obviously did not watch his comedic turn in The Nice Guys. Gosling and Russel Crowe star as Holland March and Jackson Healy, two screw-up private investigators who try to solve the mysterious death of a porn star in the ’70s. Gosling throws himself into March and fully commits to the physical humor, creating a character unlike we’ve seen before from the actor. Russell similarly shines opposite Gosling, becoming the perfect foil with his signature gruffness. This is the perfect movie to stream for those nights you’re looking for something new. This laugh out loud comedy will definitely surprise you. 

 

 

Photo: Everett Collection

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By Radhamely De Leon Everyone who doubted Ryan Gosling’s

His description of his intervention is a comic highlight, with act-outs of Nick Kroll and Fred Armisen. He’s hilariously flattered by the intervention’s star-studded attendance, “a ‘We Are the World’ of alternative comedians over the age of 40.” And when the woman running it says that she heard he was nice, he corrects her: “Don’t trust the persona.”

The funniest part of the special, which at over an hour and 20 minutes is longer than most released by Netflix these days, is an elaborate description of a text he got in rehab from Pete Davidson that a nurse woke up him to read. “Some people suggested we did drugs together because he has tattoos and I am plain,” Mulaney says, a gentle poke at the shallowness of the media and public.

This story takes off when we learn that Mulaney had put Davidson’s number in his phone under the name Al Pacino, which gives Mulaney a chance to perform the scene a second time from the nurse’s perspective, including an amazing impersonation of late-era Pacino. I can’t do this justice, except to say that the phrase “daddy khaki pants” made me laugh out loud.

Silliness has long been central to Mulaney’s humor, and part of it comes from the incongruity of his seeming either younger than his age or much older (he favors archaic words like “nay” instead of “no”). The titles of his specials tell a Benjamin Button story: “New in Town,” followed by “The Comeback Kid” and “Kid Gorgeous,” followed by “Baby J.” The way it’s going, “Fetal Position” could be next.

This is a highly anticipated special, and the modern stand-up event tends to be about something more messy than jokes. When Jerrod Carmichael came out of the closet, he ended his special abruptly, with loose ends; Chris Rock flashed raw emotion in his vengeful response to being slapped by Will Smith. Mulaney remains a tightly controlled performer. His special mostly avoids his divorce and new child, focusing instead on his drug addiction.

That story has a happy ending, with him going to rehab and emerging not only sober, but also no longer needing the approval of others. It’s a dramatic, abrupt evolution. “What is someone going to do to me that’s worse than what I would do to myself?” he asks, hinting at his own self-destructive tendencies. “What, are you going to cancel John Mulaney? I’ll kill him.”

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His description of his intervention is a

Pennsylvania state police have issued an arrest warrant for Bam Margera following a “physical confrontation” on Sunday.

In a statement, police say they were called to a Chester County residence at 11 a.m. on April 23 in response to a reported disturbance. The former “Jackass” star was allegedly involved in an altercation with someone at the household, who suffered minor injuries.

“Margera fled into a wooded area prior to the arrival of [Pennsylvania State Police] and has not been located at this time,” reads the statement. A warrant for his arrest was issued on Monday.

Margera’s brother, musician Jess Margera, appeared to confirm the confrontation on social media. Tweeting from a verified account on Monday, Jess Margera posted a screenshot of Instagram correspondence in which he said Bam “threw some punches at me which I blocked.”

The arrest warrant comes just months after Margera — a former skateboarder and TV personality — was hospitalized in December and required ventilation after contracting pneumonia.

In January, Margera appeared on his former “Jackass” collaborator Steve-O’s podcast to detail the experience.

“Basically, I was pronounced dead on Dec. 8,” Margera said. “I did not know that I had gnarly COVID and my body was shutting down. I went into four seizures, each one lasting 10 to 20 minutes. On the fourth one I bit my tongue so hard it was nearly fallen off. It got so swollen and puffy it wouldn’t fit in my mouth. I was drinking the infected blood which gave me pneumonia as well.”

Margera and Steve-O both got their start in Hollywood on MTV’s prank-stunt series “Jackass,” but Margera was not involved in last year’s feature film “Jackass Forever” because he broke a clause in his contract that required him to stay sober during production.

Margera filed a lawsuit in August 2022 against Paramount and “Jackass” ringleader Johnny Knoxville over the firing, claiming the creators coerced him into signing the “wellness agreement” for the movie while he was still in rehab.

The suit alleged that Margera was fired after testing positive for Adderall, even though he had an Adderall prescription for 10 years. The lawsuit was eventually settled.

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Pennsylvania state police have issued an arrest

Thanks to director James Gunn, MCU fans now know how many post-credits scenes to expect at the end of Guardians of the Galaxy Vol. 3.

Post-credits scenes may be a recognized Marvel Studios staple, but they’re anything but predictable. Not only does the number of end-credit tags vary from project to project but so does the nature of their content. 

At times, they’re used to further the plot or tease future characters, such as Avengers: Infinity War‘s set-up for Captain Marvel; at others, they’re a last laugh, like The Avengers‘ famous shwarma scene. 

While James Gunn isn’t giving away what his last Guardians of the Galaxy post-credits scenes may hold, he just let fans know how many to expect once the credits begin to roll. 

Guardians Vol. 3 Post-Credits Scene Count Confirmed

Marvel

When asked on Instagram about Guardians of the Galaxy Vol. 3‘s post-credits scenes, James Gunn confirmed his threequel has two:

Gunn: “There is not a post credit scene. There are two.”

This is the same number as fellow Phase 5 MCU film, Ant-Man and The Wasp: Quantumania, which also included two, a departure from last November’s Black Panther: Wakanda Forever which only included one. 

It’s also worth noting that the original Guardians of the Galaxy film had two post-credits scenes as well. 

However, that’s where the trend ends as The Guardians of the Galaxy Holiday Special on Disney+ had one while Guardians of the Galaxy Vol. 2 featured a whopping five post-credits scenes, one of which foreshadowed the creation of Vol. 3‘s Adam Warlock. 

Why Guardians Vol. 3’s Post-Credits Scenes Are Different

With any Marvel film, post-credits info is a major topic amongst die-hards as they can reveal more of the MCU’s overarching narrative. 

One of the most recent examples is Shang-Chi and the Legend of the Ten Rings end-credits tag, which connected Shang-Chi to Captain Marvel, Bruce Banner, and Wong while also teasing something bigger at play. 

However, the question of Vol. 3‘s end-credit content is different. Not only is this film the last of James Gunn’s franchise but not all of the Guardians are expected to survive.

Therefore, fans aren’t expecting any additional footage to set up the Guardians’ next chapter. And, if the film ends with an especially emotional moment, a funny post-credits scene probably wouldn’t work tonally. 

For now, Guardians of the Galaxy Vol. 3‘s two end-credits scenes remain one of the threequel’s many mysteries. But, at least, audiences know how many scenes to sit through once this beloved franchise comes to an end.  

Guardians of the Galaxy Vol. 3 arrives in theaters on Friday, May 5. 

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Spellcaster classes provide Dungeons & Dragons players with the most options. Utility spells help players that come up with creative solutions to dungeon problems. Fighting classes often had these options built into their weaponry. Entire books detailed to the differences in speed, weight and deadliness between weapon choices. Dungeons & Dragons 5th Edition, however, streamlined the weapons selection process to make combats run faster. And while, mechanically, there isn’t much difference between a longsword and a katana, there are a series of keywords that offers a little extra bit of tactics to players who don’t want to just grind out combats. These Dungeons & Dragons weapons basics will help you in combat.

Finesse

Wizards of the Coast

The most commonly known keyword is this one: finesse. Most weapons go with the Strength modifier for melee attacks and damage. Finesse weapons can use either the Strength or the Dexterity modifier of the attacker for this purpose. Most rogues know this rule by heart to allow for a little extra hurt to come from a Sneak Attack. Rogues prize Dexterity above all other attribute scores.

These weapons also come in useful for ranged builds (since you’ll use Dexterity for ranged attacks) and builds that have used their best scores elsewhere. Worrying about one score instead of two for melee removes a little pressure.

Reach

One of the main advantages of having a bigger weapon than an opponent, other than doing more damage, is keeping them away. This avoids counter strikes. Weapons that do this well provide reach, which allows attacks farther away than normal weapons, usually by five feet. It allows fighters equipped with polearms or halberds to engage an opponent without having to worry about opportunity attacks should the fighters decide to move away from their target after an attack.

Weapons with this trait should end up in the hands of characters that need mobility for healing. That includes clerics and paladins. It would also benefit characters that have a bonus that stacks with reach, such as Bugbears.

Versatile

Fighters often struggle with an existential question: to shield or not to shield? A shield provides an armor class bonus, but using one shuts off the weapons that really bring the hit points down since most of them require two hands to use. This trait offers something of a compromise. Players can use versatile weapons with one or two hands. Each style has a different damage die. Fighters with versatile weapons can judge in the moment whether or not they need extra protection or if they want to hit a target harder.

Image

Originally published on January 19, 2018.

Rob Wieland is an author, game designer and professional nerd. He’s worked on dozens of different tabletop games ranging from Star Wars and Firefly to his own creations like CAMELOT Trigger. He can be hired as a professional  Dungeon Master for in-person or remote games. His Twitter is  here. His meat body can be found in scenic Milwaukee, WI.

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Spellcaster classes provide Dungeons & Dragons players

Critically acclaimed roguelike Cult of the Lamb has received a major post-release update.

On Monday, developer Massive Monster released the Relics of the Old Faith update, which adds among other things, a new post-game story, revamped bosses and enemies, “deeper combat”, and a new photo mode.

“Relics are an entirely new combat system that we’ve added for the Lamb to collect and combat,” the developer explained on social media. “From the Eye of Leshy to Clauneck’s Shoe, each of these ideological items will grant a powerful new ability for your crusades.”

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In addition, Massive Monster says it’s added several features that were highly requested by fans, such as the ability to unlock previously missed doctrines, battle the final boss again, pause time during crusades and more.

“To be honest, we never expected so many people to want to play our game. The devotion you’ve shown is beyond our wildest dreams,” it said. “We’ve packed as much as we possibly could into this free update and we can’t wait for you to play it”.

To mark the release of the Relics of the Old Faith update, Cult of the Lamb is currently 35% off on various gaming platforms.


Relics of the Old Faith patch notes

New Content

  • Added a new storyline which begins after completing the base game.
  • Added 37 new Relics with various powers which must be collected by the player.
  • All 5 Weapons got a new Heavy Attack and Level 2 Heavy Attack.
  • Added new Sermon upgrades that unlock extra damage, Relics, Heavy Attacks, and a new ability to reroll your Weapons and Curses on Crusades.
  • Added new Crusades, which are encountered after the base game.
  • Added 13 new Encounters with various Characters and cutscenes.
  • Added many new Combat rooms, with new traps such as rivers, swinging axes, etc.
  • Added Fish, Meat, and Relic rooms.
  • Added 6 new Enemies to fight in new Crusades.
  • Added 16 new Minibosses to fight in new Crusades.
  • Added 4 new Bishop transformations to fight in new Crusades.
  • Added Chemach – a new Character who deals Relics.
  • Added ??? – a new Character who provides quests and opens a shop that accepts God Tears.
  • Added Forgotten Commandment Stones  – a new resource used to unlock Doctrines you didn’t choose in the past.
  • Added 6 new Necklaces to obtain in ???’s shop.
  • Added 7 new Tarot Cards to collect.
  • Added 2 new Critters – Jellyfish in Anchordeep and Relic Goat from Relics.
  • Added 4 new Buildings – Kitchen, Shared Shelter, Crypt, and Morgue with some having additional upgrades.
  • Added 11 new Followers obtainable in various ways through gameplay, and 7 previous Twitch Followers obtainable through ???’s shop.
  • Added 2 new Twitch Follower Forms only currently obtainable as Twitch Drops for Steam (will be available for other platforms in the future through normal gameplay.)
  • Added 6 new special Followers – Leshy, Heket, Kallamar, Shamura, Baal, and Aym.
  • Added new quests, including some secret quests.
  • Added 5 new Fleeces – obtained through various quests and combat.
  • Added Purgatory – a new way to fight in Dungeon Gauntlet and Boss Rush. Use Fleeces to fight in new ways against bosses from the base game.
  • Added the ability to re-fight Baal, Aym, and The One Who Waits in Purgatory.

Settings

Photo Mode

  • Added a Photo Mode that allows you to tilt, change height, and focus, and take Photos while pausing the game.
  • Added a Gallery to view your Photos taken while using Photo Mode.
  • Added Edit option in Gallery that allows the player to add, scale, flip, rotate and undo Stickers.
  • Added 88 new Stickers, with the ability to Clear and Undo.

General

  • Can now toggle a setting to display follower names above their heads.
  • Tutorial tooltips can now be navigated with the mouse.
  • Tutorial tooltips now show button controls.
  • A Permadeath Mode has now been added, unlocked after finishing the base game once.

Accessibility

  • Dyslexic Fonts (English only) – font option to allow easier reading for those with dyslexia.
  • Numbers as Roman Numerals – change roman numerals in the game to arabic numerals.
  • Stop Time on Crusade – time will pause in the Cult while visiting Crusades.
  • Show Build Mode Filter – the player is now able to turn off the full screen blue build mode filter.
  • High Contrast text option – sets text to a clearer color where appropriate for an easier reading experience.
  • Remove Text Styling – you can now turn off all bold and italic text for an easier reading experience.
  • Main Menu Dark Mode – change the main menu to dark mode.
  • The Flashing Lights option has been improved.
  • Remove Lighting Effects – turn off various lighting and day/night visual effects.

Achievements

  • Relics of the Old Faith – Collect all Relics.
  • Shake Down – Get your Coin back from Midas.
  • True Love Found – Reunite Aym and Baal with Forneus.
  • Leader of Leaders – Indoctrinate all five Bishops into your Cult.

Heretic DLC Pack

  • Added 5 new Follower Forms.
  • Added 8 new Decorations.
  • Added a new decorative Fleece.

Balancing & Bug Fixes

  • Fishing rates were adjusted to prevent the player from fishing too long.
  • Mushroom drops in Anura were raised.
  • Dagger damage was raised slightly.
  • Fleece of the Diseased Heart was rebalanced with an added dodging minigame.
  • The Shrine will no longer give Coins when completing upgrades after the base game and gives God Tears instead.
  • Cloud shadows were enabled again after accidentally being disabled on PC.
  • Many optimizations were added to smooth gameplay for lower memory hardware.
  • Some miscellaneous general improvements.
  • Many small bug fixes.